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Remington Rar.d Inp. Cat. no. 1139

MAGISTER CHORALIS.

A THEORETICAL AND PRACTICAL MANUAL

GREGORIAN CHANT

FOR THE USE OF
THE CLERGY, SEMINARISTS, ORGANISTS, CHOIR-MASTERS, CHORISTERS, &c.

REV. D r . F. X. HABERL

DIRECTOR OF THE CHURCH-MUSIC SCHOOL, RATISBON,
EDITOR OF THE COMPLETE WORKS OF PALESTRINA, &c.

SECOND (ENGLISH) EDITION
TRANSLATED FROM THE NINTH GERMAN EDITION

MOST REV. Dr. DONNELLY

BISHOP OF CANEA, VICAK GENERAL OF DUBLIN.

RATISBON, NEW YORK & CINCINNATI
FREDERICK PUSTET

1892.

London, Burns & Oates, 17, Portman St., Portman Sq.-R. Washburne, I8 a , Paternoster Row.
Dublin, M. W. Gill & Son, 50, Upper Sackville St.

514-\o

TRANSLATOR'S PREFACE.

ft is now fifteen years since the "Magister Choralis"
first appeared in English dress. Since that time it
has been translated into four other European languages;
— French, Italian, Polish and Spanish, and the original
German has reached its tenth edition. This may be fairly
regarded as a world-wide proof of the need there was
for such a Manual, and of how well it has answered that
need. Other useful Manuals of Plain-Chant, dealing with
its elementary characteristics and giving rules for prac-
tice, have appeared from time to time, and have in many
instances proved most valuable, but no one has yet ap-
peared that treats the subject so exhaustively, from its
several liturgical, musical, historical, archeological and
practical standpoints, as this clear and comprehensive
work of the Rev. D r . Haberl, and with its twenty-seven
years of unchallenged superiority, it bids fair to remain
without a rival.

In undertaking this new English edition, I have been
influenced by the statements made in the Author's Pre-
face, as to the changes, alterations and additions made
since the appearance of the fourth German edition, from
which the first English translation was made. These al-
terations have been so numerous, and in many instances
of such a radical character, that I felt that a completely
new work was placed before me, rather than the revision
of an old one. I resolved therefore to keep strictly to

the German text, and eliminate all that extraneous mat-
ter which local considerations urged me to insert in the
first edition. Some few of the more useful remarks, not
found in the latest German version, have been retained,
but in every instance where these occur, they are printed
within square brackets, thus: | ], the better to distin-
guish the original work of the author from the inter-
polations of the translator, and thus allow the present
version to be regarded as a strictly literal rendering of
the ninth German edition.

I have to thank in an especial manner the Rev. Pro-
fessor Bewerunge of S* Patrick's College, Maynooth, who
in the kindest manner volunteered to revise and correct
the proof sheets as they passed through the Press, and
made valuable suggestions and amendments.

This "opus quidem nullius ingenii, multarum tarnen
vigiliarum" (Guidetti) I now confidently commend to the
conscientious students of Plain Chant, in the hope that
it may still further promote the growing desire for a
dignified and devotional rendering of the genuine music
of the Church.

^ Nicholas Donnelly

Bishop of Canea.

50. Rathgar Road. Dublin.
June. 1892.

AUTHOR'S PREFACE

TO NINTH (GERMAN) EDITION.

^o express and indicate unity in Faith by unity in
® Liturgy *) was the constant endeavour of the Supreme
Head of the Church and of his representatives, as well
before as after Pope S f Gregory the Great, the thirteenth
centenary of whose promotion to the Chair of Peter will
be celebrated in Rome this year 2 ) with special solemnity.
When in the course of centuries, partly through
carelessness and inattention, partly through illegitimate
customs and the arbitrary inferences of individuals, dis-
order and differences of a serious nature arose, authority
always found the ways and means wherewith to lead back
the wanderers by degrees to uniformity. More than thirty
years ago, when numerous varying Antiphonaries , Gra-
duals, Rituals, etc., all professing to contain the Roman
Plain Chant, forced themselves on the attention of the
Chorister, he would select some one or other of these
editions according to his own peculiar taste and judgment.
But no sooner did he attend the sacred ceremonies in

*) Joh. Cottonius writes in the 11 th century (G-eebeet, Scriptores,
Tom. II. p. 260): u Cum enim constet, quod units Dominus una fide, uno
baptismate, et omnino morum imitate oblectetur, quis non credat, quod idem
ex multiplici cantorum discordia, quam non inviti, neque ignorantes, sed
voluntarie constrepunt, offendatur?"

u ) [The ninth German edition of the Magister Choralis was published
in 1890, the year of the Gregorian centenary in Rome. Teanslatoe.]

another Church or Diocese, or with the modern facilities
of locomotion pay a visit to some other country, than
he found the Gregorian Chant to sound strange and un-
familiar. In every Church of his creed the Catholic
would find the liturgical prayers and ceremonial identical,
but in the liturgical chants endless variety would be the
prevailing feature. The consequence was that those who
were in doubt, would either neglect the chant altogether,
or accustom themselves to consider it a mere matter of
fancy, abandoned to the taste and caprice of the indi-
vidual; following at one time a certain school, again an
old tradition, or the results of archeological and scientific
investigation, or authoritative recommendations, or highly
praised methods of execution.

Since the complete publication of the authentic Books
of the Chant, embracing as they do every department of
the Liturgy we can now attain uniformity with Roman
practice in the singing of the Liturgy after much struggling
against local traditions and customs ever since the Council
of Trent, as we have already attained it in our prayers
and ceremonial. The history of these struggles and labours
may be found partly in Chap. 2 nd of this manual, and partly
in the Brief of Leo XIII. issued on April 26 th 1883.

The present manual has for its object to teach the
correct manner of singing the authentic Choral Chants
on the basis of history and tradition.

The Editor of this manual for a long time hesitated
as to how he should deal with this burning question and
up to the fourth edition (1873) thought he should strive
and consult for all tastes by conscientious reference to
private opinions as they were known to him, and by quot-
ing different editions, even though he had to gain the

VII

experience that u in order to be just so that everybody
may like us, we should not be just at all." *)

Since the authenticity of the Roman melodies is cer-
tain, and since the will of the Holy Father has been
unequivocally manifested as against the views, efforts and
wishes of the archeologists of the Congress of Arezzo,
no doubt can remain that only the supreme ecclesiastical
authority can lead us to unity [uniformity] in singing,
and silence the discord created by those parties who
keep contending as to what are the best melodies. 2 )

The musical examples are taken exclusively from the
typical editions of the authentic Roman choral books,
whether as illustrating the theoretical principles borrowed
from the mediaeval writers, or for teaching the intona-
tions that should be familiar to priests and clerics.

Since December 1883 the Papal Commission has laid
down uniform principles regarding the selection of clefs,
the use of ■. M, ♦, the division of the longer neume-
groups, etc.; this unification in consistent notation must
be regarded as a step of the greatest importance espe-
cially for the attainment of uniformity in rendering the
Chant, and has not only been adopted throughout in this
manual, but also will be found explained in a distinct
new Chapter.

Moreover in this ninth edition, numerous improve-
ments have been made in every Chapter, useful additions
[in Chapters, 2. II. 3 ) 39. 48 and in the alphabetical Index

*) Deutinger in the Preface to "Princip der neuen Philosophie."

2 ) G-uido of Arezzo writes (Gerbert, 1. c. Tom. II. p. 20) : lUud
prceterea scire te volo, quod in morem puri argenti omnis cantus quo magis
usitatur eo magis cöloratur, et quod modo displicet, per usum, quasi lima
politum, postea collaudatur.

3 ) The number of exercises beginning with one line and proceed-
ing methodically was increased in agreement with a suggestion of

VIII

of abbreviations], and suitable observations regarding
historical, archeological, or liturgical matters have been
inserted; for, a book intended for instruction is always
susceptible of further improvement. 1 )

By means of different type what is necessary is dis-
tinguished from what is useful, in order that the teaching
in training schools or of singers not acquainted with Latin
may be facilitated.

The author will always be thankful for the expression
of further wishes, suggestions, additions, etc.; and will
feel obliged for communications of defects and omissions,
for stranger's eyes are sharper than one's own.

F r . Angelo de Santi S. J., the translator of the Italian edition. In
a similar manner the teacher can write down many exercises in the
intervals on the black board.

*) Translations of the Magister Choralis exist in English, French,
Italian, Polish and Spanish. They are printed by the publisher of
the German edition, which last year [1889] celebrated its silver Jubilee,
the first edition having appeared in 1864.

Ratisbon, 24 th February, 1890.

Dr. F. X. Haberl

Director of the Church Music School.

CHAPTER 1 st .
DEFINITION OF GREGORIAN CHANT.

The Eoman Choral, or Gregorian Chant is the music
proper to the Catholic Liturgy. It is essentially diatonic;
that is, its melodies 1 ) proceed through the natural or
principal Tones of the musical scale. These melodies
should be sung in unison, without any fixed time-measure-
ment, nevertheless according to the rhythm 2 ) of spoken
language.

The name Gregorian Chant (cantus Gregorianus),
which is first met with in the Treatise by William of
Hirschau, (ob. 5. July 1091), 3 ) is to be traced to the zeal
for the Liturgy of that sainted Doctor of the Church,
Gregory the First, surnamed the Great, (Pope from A. D.
590 to 604), who collected, improved, and added to the
several ecclesiastical chants in use up to his time (monu-
menta patrum renovavit et auxit). The Cantus 8. Gregorii,
that is to say, the authentic collection of Chants authorised
by him, whether in the original codex or in an authenti-
cated copy, has not as yet been discovered; but, the spirit
of his method of Chant has been traditionally maintained
in the Church down to our own day.

x ) Melody is a series of single sounds arranged according- to certain
musical laws, and which, by their variety and distribution into high
and low, long and short, strong and weak sounds become pleasing to
the ear. Harmony is the simultaneous sounding of two or more sounds.
Modern melody is constructed on harmony as a foundation, whilst
Gregorian melodies are formed out of the tones of the diatonic scale
without any preconceived relation to harmonic accompaniment.

-) Melody without Rhythm is a body without a soul. "Ehythm
seizes upon the Tone -formation and endows it with movement and
life." Thus writes Father Ambrose Kienle in "Choralschule". (Freibury
in Brisgau, Herder, 1884, p. 39.)

3 ) See Fr. Utto Kornmüller, Kirchenmus. Jahrbuch. Eatisbon, 1887.
I p. 15; Gerbert, Scriptures de Musica Sacra, St. Blase, 1784, Vol. II.,
/ pp. 154 to 182; Hans Müller, Die Musik Wilhelms v. Hirschau, Leipzig, 1883,

Magister Choralis.

Gregorian Chant is called "Boman", because it was
propagated from Rome the centre of Christendom. And
even still, Rome insists on the title "Boman Chant", for
that particular collection of Chants approved of by the
Sacred Congregation of Rites, — a Congregation specially
deputed by the Pope to take charge of the Liturgy, —
in contradistinction to the various collections in use in
different countries, Dioceses, and religious communities,
which for the most part are only tolerated.

It is manifest that to the Supreme Pontiff alone ap-
pertains the duty of keeping watch and ward over all
that concerns the Liturgy; and therefore, it is the Pope
alone that can authorise as necessity may arise, any
alteration, restoration or reform in the Chant to be used
in that Liturgy.

The designation "Choral Chant", dates from the
period when the Clergy being assembled in choir (in
choro), or in what was called the presbyterium , chanted
the Divine Office unitedly or alternately. The term
"chorale" employed in modern musical literature has
quite a different meaning from "Bonian Choral". It is
also a misnomer and the result of a confusion of ideas,
to designate as "Gregorian Chant", certain musical com-
positions used in Church service, which are written to
be executed in parts by voices only and without Organ
or instrumental accompaniment, such as the Church com-
positions of Palestrina and his school. The following
observation will make this clearer.

OBSERVATION. In the tenth century an effort was
made to accompany the Gregorian melodies with a second
voice part. (For an account of Hucbald's Organum, see
the Kirchenmusikalisches Jahrbuch for 1886 p. 13.) This
second voice proceeded in Fourths, Fifths and Octaves,
and the form of progression was what is known as motus
rectus. In the eleventh century this method of accom-

paniment was amplified, not only to the extent of em-
ploying Thirds, but also of utilising the so-called Orga-
num, whether in motu redo, or one voice holding steadily
on to the one note, while the other parts moved up or
down, (motus obliquus). Finally in the twelfth century
even the motus contrarius came into use, and generated
Diaphony or Discant (Discantus), especially in the cadences
at the end of melodic phrases. In all these styles of ac-
companiment the Gregorian melody was referred to, as
the cantus firmus, (canto fermo), the fixed or unalterable
voice part, in contradistinction to the other voices which
moved about in counterpoint. 1 ) As however the rhythm
of the simple unaccompanied chant suffered from these
innovations and eventually became obscured by the over-
crowding of these elaborated voice parts, the original
gregorian melody came to be distinguished by yet another
name, and was thenceforward known as cantus planus ,
or, plain chant.

The period running from the 13 th to the 15 th centuries
witnessed the growth of Polyphony, 2 ) which in the 15 th cen-
tury through William du Fay (ob. 1474 in Cambray), and his
pupils was still further perfected in its rhythmical aspect;
and in the 16 th century it reached its highest artistic
development at the hands of Giovanni Pierluigi da JPale-
strina (Joannes Petrus Aloysius Prcenestinus, born in Pale-
strina 1526, died at Rome, Feb. 2 nd 1594). In the 15 th cen-
tury musical writers for the Church selected their themes
for Masses or Motets mostly from the collected gregorian
chants, giving the gregorian melody in notes of varied
rhythm, though sometimes transferring it to one or other
of the different voice parts. In the 16 th century the com-

*) The term Counterpoint commenced to be used in the 12 th century.
A note was called Punctum or point and consequently the accompany-
ing" note placed directly under or over the note of the melody was
called contra-punctum ; i. e. counter-point.

2 ) In compositions for two or more voices, two distinct forms may
be employed ; Omophony, when the other voices or parts merely serve
as an accompaniment to the given melody; Polyphony, when the parts
move about independently of each other but so as to form one har-
monious whole.

"E come in voce voce si discerne,
Quand'una e ferma e l'altra va e riede, &c."

Dante, Parad. VIII. 17.
1*

posers confined themselves to selecting a short melodic
phrase from the liturgical chants as themes for their
compositions, then such selections became rarer, until
finally, in the 17 th century, this practice was altogether
abandoned and polyphonic compositions for the Church
began to be constructed according to the particular taste
or fancy of the individual composers, and gradually be-
came more and more profane in proportion as they
receded from the liturgical canon of Gregorian Church
Song. It is well to observe moreover, that between
Gregorian Chant and the polyphony of the 15 th and
16 th centuries, there is a close bond of union, and that
for the proper execution of the works of this period, a
thorough knowledge of the free rhythm of Gregorian is
absolutely necessary. In the Preface to the first volume
of his Musica Divina, the late Rev. Dr. Proske (ob.
20. Dec. 1861) writes: "The universal and indispensable
basis for understanding and interpreting the contrapuntal
scores of the old masters of Church Music, is, the Gre-
gorian Chant. Whosoever endeavours to restore them
to their post of honour in any other way, whether by
applying principles of modern art, or by adapting them
to prevailing musical ideas, would not only miss the ob-
ject he had in view, but for every step forward he would
be taking two backward."

CHAPTER 2 nd .
A SHORT HISTORY OF PLAIN CHANT.

The celebration of DivineWorship in the early Christian
Church was necessarily arranged according to the simplest
forms; and the Sacred Music which bore it company,
must have been derived from the music of the Jewish
Temple, which gradually assumed more definite and art-
istic form under the influence of Greek learning and Greek
art. The writings of the New Testament, especially the
Gospels, were added on to the Lessons, Psalms, Homilies,
(developments of Scripture texts), and Prayers which
formed the chief divisions of Hebrew worschip; while

special prominence was of course given to the commemo-
ration of the Last Supper, — the Holy Sacrifice and the
Blessed Eucharist, — according to the injunctions of
Christ and of His Apostles.

The three first centuries of the Christian era were
not favourable to any fuller or more regular development
of the Liturgy, much less to the uniformity of its Chant. 1 )
Already in the fourth century, four principal liturgies
or forms of Christian worship may be distinguished: the
Syrian, the Alexandrine, the Roman, and the Frankish
or Callican. 2 ) In western nations, the Roman and Gallican
prevailed; but in this text-book we only consider the
Roman Liturgy, all the more so, that from the 5 th cen-
tury it was adopted even in those countries where pre-
viously the Gallican had obtained.

OBSERVATION. "From the earliest Christian times
we see the elements of Christian song coming out of
Palestine and Hellas like two streams uniting and flowing
on together. From the Musica Sacra of the Hebrews,
the Chant of the early Christians derived its sacredness,
and from the art of the Greeks, its Form, Rules and
Beauty." 3 ) "We must consider the music of the early
Christians as congregational or popular singing, con-
structed according to the method and system of what
was then ancient musical art, but penetrated, elevated
and inspired by the new Christian spirit." 4 )

"Church Music was studied and the knowledge of it
promoted with great zeal by the earliest and greatest
amongst the Fathers of both the Eastern and Western

*) "facies non omnibus una, nee diversa tarnen;" (the Rites) "are
not always the same but they are alike".

2 ) See for an account of the Latin Liturgy before Charlemagne,
the epoch-making work of Duchesne, the editor of the Liber Pontifi-
calis: "Origines du Culte Chretien. Etude sur la Liturgie Latine avant
Charlemagne par l'Abbe L. Duchesne, membre de l'lnstitut." Paris,
Erneste Thorin, 1889.

3 ) Ambros, Geschichte der Musik. I. vol. p. 196.

4 ) Idem, loco citato vol. II. p. 11.

Churches. Some, from the earliest periods took care to
provide specially appointed singers to render it in a more
artistic manner, whilst in many places, singing schools
had already been erected and endowed." 1 )

"Church Song attained a very high level through
the zeal and ability of St. Ambrose, Bishop of Milan
(ob. A. D. 397). He was not only himself well skilled
in this sacred art, but he interested himself very actively
about it, and was thenceforward regarded as the origi-
nator of a regular musical system and of some special
method of singing. In what precisely the beauty of Am-
brosian Chant consisted we have no means of determining.
Those probably come nearest the truth, who are of opi-
nion, that the secret of its power on the emotions lay
in its extreme simplicity and metrical movement." 2 )

Pope St. Gregory the Great (590 — 604) was the first
to collect into one uniform whole the previously scattered
and varying chants of the Liturgy. For the special reli-
gious functions celebrated by the Pope with the Eoman
Clergy in the Station Churches, he arranged and fixed
the" Liturgy in the Liber Antiphonarius 3 ) (Book of Anti-
phons or alternated chants). The better to carry out his
reform he founded a special singing school in Rome, in

*) Jakob, "die Kunst im Dienste der Kirche," 2. edit. p. 379.

2 ) "Was ist ächte Kirchenmusik?" Schlecht (Geschichte der Kirchen-
musik.; pp. 9 & 10. This explanation is justly deemed incorrect by
Fr. Ambros Kienle, where at p. 120 of his Choralschule he writes : "The
Ambrosian Chant was rhythmically free and not metrical; finally it
was in part very simple, and in part richly melodious, as contemporary
writers and the fragments that have come down to us testify. The
difference between the Eoman and Milanese Chant was much less than
what is imagined."

3 ) Mediaeval writers use the expression Antiphonarius Cento. Ac-
cording to Du Cange (Glossarium medice et infimce latinitatis), Rupert
von Deutz at the year 591, and ßadulph von Diceto (A. D. 1210) write:
"Gfregorius .... Antiphonarium regulariter centonizavit." The word
centonizare signifies to collect or bring together from various sources,
ex variis libris describere, excerpere. See also Griov. Batt. Martini, "Storia
della Musica", vol. II. p. 108. The derivation from xspism = yungo,
to prick or pierce, cannot be upheld, as this word is only employed
in the sense of pricking or urging on an animal, .never in the sense
of writing or pricking with the stylus.

which he himself taught. From this school went forth
teachers of the Roman Liturgical Chant to England with
St. Augustin in A. D. 596. *)

OBSERVATION. The first Ordo Bomanus speaks of
two Chant Books; — the Cantatorium which previous to
St. Gregory's time was used by the Deacon when singing
the Graduate and similar' solo chants; — and the Anti-
phonarium, which contained the Introits, Offertories, Com-
munions and Antiphons and was used by the Schola Can-
torum. 2 ) In this school boys from a very tender age
destined for the Ecclesiastical state were educated. Before
Gregory's time it was called the Schola Lectorum and
served as a seminary for the Deacons, 3 ) who were re-
quired to possess a good voice and abilities for singing
the solos of the Gradual. At the Council held in 595, in
consequences of abuses that had arisen, Gregory dispensed
the Deacons from the singing of the Gradual. 4 )

In the 7 th century Pope Vitalian (A. D. 657—672)
sent Theodore to Canterbury as Archbishop with com-
panions to instruct in the Chant; and in 679, the Roman
singer John, taught the English Monks and Ecclesiastics.
In 716, the monk Wilfrid, (St. Boniface), with his com-
panions preached the Gospel to the German nations, and
as they were well acquainted with the Roman Liturgy,
so also did they introduce the Roman Chant. Pope Za-
chary (A. D. 741—752) encouraged the Apostle of the

*) ["Honorius , 4 th successor of Augustin in the metropolitan See
of Canterbury, was a monk of Mount Coelius at Borne, and one of the
first companions of St. Augustin in his mission to England. He was
a disciple of St. Gregory, and had learned from the great Pontiff the
art of music, and it was he who led the choir of monks on the oc-
casion of the first entrance of the missionaries thirty years before at
Canterbury." Montalembert, "Monks of the West", vol. III. p. 447.
Teanslatoe.]

2 ) See Duchesne, 1. c. p. 110.

3 ) Giov. Batt. de Eossi, Bulletino, 1883, p. 19, also Fr. X. Haberl,
"Die röm. schola cantorum", 3. Heft der Bausteine für Musikgeschichte,
Leipzig, Breitkopf & Härtel.

4 ) Duchesne, 1. c. p. 162.

Germans to do away with the Gallican Liturgy which
had been extensively propagated throughout Franconia. 1 )

In i 760, Pope Paul sent an Antiphonarium and a
Besponsoriale to King Pepin, but it was chiefly due to
the energetic efforts of Charlemagne, who had specially
addressed Pope Adrian (A. D. 784—791) on the subject,
that the Roman method of chant was established through-
out Franconia. In Germany and France renowned
schools sprung up, especially in connection with the Ca-
thedrals and Monasteries, so that daily, and at every
hour of the day, in thousands of churches the praises of
God resounded in one uniform strain. In this way a
certain fixed tradition grew up, at least as regards the
manner of rendering the Chant. 2 )

Whether Pope Gregory made use of the letters of
the Alphabet or of symbols (points, accents, &c.) to de-
signate the sounds is uncertain; but it is certain that
whatever signs he adopted they were not adequate to
determine the intervals with exactness. In course of time
this imperfect 3 ) method of notation rendered necessary
some kind of oral tradition, which however differing in
different localities completely destroyed in the course of
time all uniformity in rendering the Plain Chant melodies.

OBSERVATION. Duchesne in his Origines du Quite
Chretien, p. 98, writes: "The Popes confined themselves
[in their efforts to diffuse the knowledge of the Chant]
to sending copies of their liturgical books, without making
any special provision as to the use that should be made
of them. The persons whom the Frankish Kings, Pepin,

J ) Idem. 1. c. p. 96.

a ) See Walter's article, "der Musikunterricht in Deutschland", in
K.-M. Jahrbuch, 1887, p. 41.

3 ) "Cantum per hsec signa (neumata) nemo per se addiscere potest,
sed oportet ut aliunde audiatur, et longo usu discatur, et propter hoc
hujusmodi cantus nomen usus accepit". Gferbert, "Scriptores," Tom. III.
p. 202.

Charlemagne and Louis the Pious charged with the ex-
ecution of the liturgical reform , did not consider them-
selves prohibited from supplementing the Roman books,
and even inserting those portions of the Gallican liturgy
which they thought worth while preserving. Hence
arose a liturgy of a rather composite character, which,
spreading abroad from the Imperial chapel throughout
all the Churches of the Frankish Empire, finished by
finding its way to Rome itself, and there supplanting
little by little the ancient use. The Roman Liturgy, since
the 11 th century at least, is nothing else than the Frankish
Liturgy, such as it was elaborated by Alcuin, by Helisa-
char and by Amalarius. It is also strange that the an-
cient Roman books, those which contained the pure Roman
use up to the 9 th century, have been so carefully elimi-
nated, that not a single copy of them survives." What
is said here of the Liturgical books, may also be predi-
cated of the books of the Chant, of which not one extant
goes back farther than the 8 th century. The so-called
Sacrament arium Gregorianum *) which Pope Hadrian sent
to Charlemagne by John Abbot of Ravenna, 2 ) between
784 and 791, was altered in the copying and Gallican
elements were introduced. Moreover it contained only
the Roman Station-festivals, with additions made by Popes
that came after Gregory, so that Duchesne 1. c. p. 119
justly observes that to avoid mistake it should rather be
called the Sacrament arium Hadrianum. A similar fate
may have befallen the Antiphonary, the same which John
the^ Deacon speaks of, and which even in his time was
chained to St. Peter's altar.

Guido, surnamed of Arezzo 3 ) made good use, during
the first half of the 11 th century, of the horizontal lines
discovered by the Flemish Hucbald of St. Amancl (A.D. 930),

*) See the edition of Muratori, Lit. Bom. vetus, Tom. II.

2 ) De Sacramentario vero a sancto disposito prsedecessore nostro
deifluo Gregorio Papa: immixtum vobis emitteremus. Cod. Carol, edit.
Jaffe, p. 274.

3 ) According to latest discoveries (revue de Hart chretienne, 1888)
Guido was educated in the monastery of St. Maur des Fosses, Paris.
See concerning him the article of Fr. Utto Kornmüller in the Cäcilien-
Kalender of 1876, and in the K.-M. Jahrbuch of 1887 and 1890.

for systematically fixing and naming each note, and there-
by considerably facilitated the study of music. Quite
a crowd of theorists from the 9 th to the 15 th centuries
busied themselves with explanations of the Scale, and
with rules for the teaching of singing, of the Modes, of
Rhythm, &C 1 ) During the course of the 12 th century the
various manuscript codices written in neumes were trans-
ferred into the clearer and larger [Gregorian] staff notation.
But, the character of these translations was very much
determined by locality, as the possibility of multitudinous
interpretations and renderings of the neumatic signs gave
rise in the 11 th century to different ways of chanting one
and the same text, according to the teaching which the
singers received in the several Cathedrals and Cloisters. 2 )
The principle however that the Gregorian Chant was
the special liturgical music of the Church was never sur-
rendered. Even, when in the course of time, the several
Teachers and Dioceses contended with laudable zeal for
the genuineness each of their own reading, and sought
to outdo one another in assertions and arguments to prove
the identity of their several melodies with the original
text of St. Gregory, in all places, the principle of decla-
matory melody founded on the Diatonic Scale remained
intact and unimpaired. This principle was still in force
in the 13 th century, when a beginning was made to ab-
breviate the melodies themselves which in course of time
had become overladen with the too artistic ornamentation or

*) Fr. Utto Kommittier in the K.-M. Jahrbuch of 1886 and 1889,
published an epitome of the mediaeval Theorists. The principal names
are: Remigius of Auxerre. Notker, Hucbald, Regino von Prüm, Oddo,
Gruido, Berno, William of Hirschau, John Cottonius, St. Bernard and
his school, John de Ofarlandia, &c, &c.

2 ) In K.-M. Jahrbuch 1890, p. 93, Fr. Utto Kornmüller writes:
"It is bad logic to infer from the uniformity of the notated manuscripts
and their resemblance to those in neumes, the identity of these two
classes of manuscripts. The opinion that the notated melodies are a
correct translation of the neumes, and consequently genuine Gregorian,
cannot be received."

tasteless mannerisms of the singers. These abbreviations
however went hand in hand with the alterations made
in the Missal, Breviary, and other Liturgical books, and
were adapted to the circumstances of the period which
required both for congregation and choir, that the Sacred
Functions should be less protracted. The Roman See
especially, considering the Gregorian as its own native
chant, claimed and exercised the right to extend to the
chant, the alterations that might happen to be made in
the books of the Liturgy, and never permitted the latter
to be published without these melodies. But it was
after the Council of Trent, and towards the end of the
16 th century, that Rome made special efforts to bring
about uniformity in both Liturgy and Chant.

In 1582, appeared the Directorium Chori; in 1587,
the Cantus ecclesiasticus officii maj. held.; in 1588, the
Prcefationes in cantu firmo, all edited by Guidetti under
the auspices of Gregory XIII, and SixtusY: in 1614, and
1615, the Graduate Bomanum appeared from the Medi-
csean printing offices, and in 1614 the Bituale Bomanum
at the desire of Pope Paul Y, whilst in 1611 was printed
in two folio volumes, the Antiphonarium Bomanum, by
Joachim Trognäsius in Antwerp. The Hymns, which
Giov. Pier-Luigi da Palestrina had already published in
1589, were by order of Urban YIII in 1644, again re-
edited with the accompanying Chant according to the
revised text. In fine, in obedience to the Decrees and
wishes of Trent, quite a laudable rivalry was soon deve-
loped everywhere to publish large and small editions of
the Chant for use in the various functions, and with a
view to facilitate its acquirement.

In our own time Pius IX, in 1869 undertook a further
revision of the Choral Books, and ordered that appropriate
chants be provided for all the offices introduced into the
Liturgy since the 17 th century. He entrusted this work

to the Sacrorum Bituum Congregatio (S. R. C. = Con-
gregation charged with the guardianship of the Liturgy
and Sacred Rites), which with the concurrence of the Pope
nominated a special commission of five skilled and com-
petent Professors. This commission determined the fun-
damental principles of the Roman Chant as they were
embodied after the Council of Trent, though not yet gene-
rally fixed or adopted uniformly in all their bearings,
and examined the new melodies for new offices that were
put before them. 1 )

But since 1884, we have a complete and authentic
edition of all the Liturgical books which contain the
Gregorian-Roman Chant. This colossal and costly work
was undertaken by the Pontifical printer, Frederick Pustet
of Ratisbon, to whom, in consideration of his enterprising
spirit, an exclusive printing privilege of thirty years was
granted by the Holy See, whilst all proprietary rights
remain reserved to the Sacred Congregation. 2 ) The se-
veral editions brought out by De Yoght, and E. Duval of
Mechlin, those by Jacques Lecoffre of Paris, the Rheims-
Cambrai edition, the Liber Gradualis of Dom Pothier
and others similar, were submitted to the Holy See after
they had been published; and the Holy Father was pleased
to signify his appreciation of the praiseworthy zeal dis-
played by both authors and editors in their efforts to

x ) Dr. Thalhofer writes in his Handbook for Catholic Liturgy,
Freiburg, Herder, 1887, p. 38: "The Church authorities are certainly
not to be blamed, if, recently, the better to bring about all possible
uniformity in liturgical chant, they did not rely upon the ever unsteady
archaeological principles, but, in the official edition of the Choral-books,
kept steadily to melodies now long established in use." See also,
pp. 549 et seqq.

2 ) The position which some wish to make for science and archaeo-
logy against the Liturgy and liturgical chant must be decidedly rejected.
Nowhere does the Church take a more decided stand than in the Li-
turgy. Archaeological science comes in only as a helpmate not as a
judge; she can help to its better understanding, and within certain
limits co-operate, but she has no right to command. See Musica Sacra,
1889, pp. 58 et seqq.

promote the study and practice of Plain Chant. The
principal difference however between these private enter-
prises and the official editions of the Sacred Congre-
gation of Rites, lies in the fact, that every single sheet
of this latter was sent for revision to the Commission
established by the Holy See; which having examined it
as it came before them, and made the necessary cor-
rections, passed it on to the Sacred Congregation where
it was stamped and sealed and delivered over to the
printer. The Brief of the Holy Father dated May 30 th
1873, says: „We particularly recommend this edition to
all local Ordinaries; the more so, as it is Our sincere
desire, that in all Dioceses and localities, as in other
liturgical matters, so also in the Church Chant, the same
customs be uniformly observed as prevail in the Roman
See." Notwithstanding this explicit declaration of the
mind of the Supreme Pontiff, disputes, suspicions and
doubts arose as to the authentic character of the official
editions, and Rome was obliged to confirm in 1877, what
Pius IX had so clearly expressed. The sincere desire
of the latter Pontiff, which so closely resembled a com-
mand, was reiterated in a similar sense by his glorious
successor the reigning Pontiff Leo XIII. 1 )

Moreover the Sacred Congregation has again and
again issued clear precise and definite answers to the
many queries, doubts and difficulties that have arisen
regarding the authenticity of these choral books, declar-
ing them to contain the cantus legitimus. Finally, when
the so-called "Congress for Liturgical Music", which was
assembled in Arezzo 2 ) in 1882 impugned, though only
indirectly, the official editions, with a view to having
substituted a still newer edition based upon scientific and

*) See Preface.

2 ) On the History and results of this see "Offene Briefe" von Prof.
J. Lans, Kegensburg, Pustet.

archaeological principles, the Sacred Congregation put an
end to all further discussion by a Decree of April 26 th
1883. 1 ): As a consequence of this Decree, came the order,
that all copies of the Antiphonarium and Graduate should
bear on the title page these words: "cura et auctoritate
S. B. C. digestum Hornce", and that the chants contained
in the Missal, Rittfal and Pontifical, precisely because
these books were now obligatory for the universal Church,
should no longer be* allowed to see. the light, even in
extracts, without the express approval of the Sacred Con-
gregation. In consequence of these public acts, the official
editions were received, even before April 1883, in the
majority of the Dioceses of Germany, 2 ) America and
Holland; whilst the Synods of 'Westminster, 1873 and
Maynooth 1875 solemnly accepted them and recommended
them for England and Ireland. Since the recent Decrees
of the Holy See they are gradually being adopted in
many countries and dioceses where previously private
editions had been in use, and all publishers, who hence-
forward undertake to publish Missals, Eituals and Pon-
tificals, are obliged by the S. Congregation to adhere
scrupulously to the typical editions (editiones typicce) both
as regards the melodies themselves and the method of
notation.

*) On this Decree see J. Bogaerts: "Le Congres d'Arezzo" and
Cäcilien-Kalender for 1884 as well as the periodicals "Semaine religieuse
du Diocese de Perigueux et de Sarlat" 1883, N°. 43 and following, and
"Semaine religieuse du Diocese de Laval" 1883, N°. 42.

2 ) Notwithstanding that from the havoc wrought during the
19 th century in those nurseries of art and liturgy, — Monasteries,
Cathedral and Collegiate Church, — zeal for the production of Gre-
gorian chant has grown cold, there remains the fact that the Cecüian
Union in Germany for the improvement of Church Music approved
by the Holy See, gives us ground for hope that not only in large
Churches, but even in the smallest and poorest, a general study of
Gregorian chant will grow up, especially as copies of the Choral
Books are now so procurable in their cheap stereotyped editions. See
"Musica Sacra", 1889, pp. 30 et seqq.

CHAPTER 3 d .
WHY WE SHOULD ESTEEM PLAIN CHANT.

Bound up as Gregorian Chant has been with the
ceremonial of the Catholic Church and pervading her
whole liturgical existence, it is an essential part of the
Liturgy. The language to which it is 'wedded is sonorous
and dignified; the place where it is heard is holy; and
the melody itself is simple and clear yet sublime. All
this determines its purpose, fits it to be an integral part
of the Church's worship, and discloses to us the influence
of that Divine Spirit which governs the universal Church.
"The Catholic knows its worth, when he goes to the most
distant part of the globe, and finds there the service of
the Church, even to the smallest detail, just as he left
it at home." *) Thus far Ambros writing of the Liturgy,
but the passage is equally applicable to Liturgical Chant.
"We can scarce imagine," writes the same author in his
History of Music, "a more expressive manner of singing,
or one that so thoroughly satisfies all the demands of
the Liturgy. The History of Art . . . must recognise the
great dignity, immense simplicity and penetrating force
of the Gregorian melodies that are still used in the
Church." 2 ) The Protestant Thibaut in his little book,
"Purity in musical art", says that "the Ambrosian and
Gregorian melodies and intonations (as far as we know
them) are truly celestial; — created by genius in the
happiest ages of the Church and cultivated by art, they
penetrate the soul far more than most of our modern
compositions written for effect." Otto Kade, editor of
the Luther- Codex of 1530, writes (1871) in the Intro-
duction: "Gregorian Chant or Choral Song in its wider

*) Kulturhistorische Bilder aus dem Musikleben der Gegenwart.
^By A. W. Ambros. Leipzig, H. Matthes.

*) Ambros, Musikgeschichte. 2. Vol. p. 67.

signification — vox verbi divini — is among all the pro-
ducts of the Church's energy, her most substantial, pecu-
liar, deeply tender and most beautiful creation. Nothing
in this world equals the inestimable value of these won-
derful characters and song-forms, on which the Church
has been labouring for a thousand years in order to bring
them to perfection. No music touches them in their ex-
pressive melodic phrases; they constitute the most nry-
sterious tone-language in the world and form the most
precious possession of a community, which, in this rich
selection of song-forms, one for every liturgical text and
sometimes even two, finds a central point where Art
and Religion meet. They are the Bible in music."

„The Choral (cantus gregorianus) ," writes Witt in
his Musica Sacra (1868 pag. 90), "is the most finished
"and most sublime production of that Art-epoch, when
"Melodies were found, without having to think of their
"accompaniment or harmonization: it is an imperishable,
"unattainable master- piece of natural musical decla-
ration." 1 )

The Council of Trent in few but decided words, com-
manded the "teaching and cultivation of the "chant in
Diocesan seminaries and similar institutes." 2 ) Thence-
forward Rome and several national and provincial Councils
enacted similar Decrees. 3 )

x ) Dr. Witt in Musica Sacra, 1868, p. 90.

2 ) Cone. Trid. Sess. XXIII. cap. 18, de reform. "Granrmatices, cantus,
computi ecclesiastici, aliarumque bonarnm artinni disciplinam discent."

3 ) The Council of Eome 1725, the Provincial Council of Balti-
more 1837, the National Synod of Baltimore 1866, the Provincial
Council of Cologne 1860, several Pastorals of Bishops; e. g. of the
Card. Archbishop of Mechlin , of Bishop Valentine of Ratisbon take
up and recommend with great earnestness the cultivation of Gregorian
Chant. The "Collectio Lacensis" i. e. Acta et Deer eta Sacrorum Conci-
liorum recentiorum. Vols. 1—6 at Freiburg in Breisgau published by
Herder from 1870—1884 bring together the several Decrees and Re-
solutions passed on this subject by the several Provincial Councils \
occurring from 1687 down to 1869.

The active life of Catholic Art (as developed in
Architecture, Sculpture and Painting) must breathe and
palpitate as well in Church Music and Plain Song, for
it is universally acknowledged that all arts flourish hand
in hand with the Church. It is but a duty of justice to
restore to this worthy but long dishonoured Chant its
early esteem and symbolism of unity. Of Gregorian Chant
it may be safely said what Goethe remarks: "Music in
"its best sense stands little in need of novelty, as the
"older it is, and the more one is accustomed to it, the
"more impressive it becomes." "The Choral is not the
"work of individuals, of this or that composer, it is the
"music of the Church . . . The Priest who represents the
"heavenly bridegroom, entones the wedding song; and the
"friends of the bridegroom join in holy love and joy." *)
"The Gregorian is of quite a different artistic construction
"from modern music, it has melodies of a peculiar kind,
"that require peculiar treatement." 2 ) The prejudices that
have arisen against Gregorian Chant, originate either
through ignorance of its real nature and purpose, or
because of the way in which it is, alas! too frequently
disfigured by a faulty rendering. Bad execution of Gre-
gorian Chant has beyond all doubt brought it into dis-
repute; whereas a man has but to work with perseverance
in learning its spirit and true form, to be forced to ac-
knowledge its sublimity and grandeur. 3 )

x ) Amberger, Pastoraltheologie, II. Vol. p. 228.

2 ) M. l'Abbe Cloet, Kecueil de melodies liturgiques, Tom. II.

3 ) The unreasonable denunciations of Gregorian Chant as being
gloomy, wearisome and ice-cold, or as Luther called it "the cry of the
wild ass", here find their explanation. The experience : corruptio optimi
pessima is painfully verified in the matter of Gregorian Chant; but
the fault lies not with the Song, but with the Singers. Luther in
another place writes : "We have for good example adopted the beauti-
ful music employed under popery on Vigils, Dead Masses, Funerals &c,
have printed it in this little book of music, and mean in time to take
more. Of course I have put other words to it . . . The Song and the
notes are very valuable; it were a shame that they should be lost."

Magister Choralis. 2

After so many testimonies both from friends and
foes, I will conclude this paragraph with just one more,
that of the Cistercian writer Mauritius Vogt. *) "These
"strong, measured, emphatic, sublime, true, chaste, peace-
breathing, lovely and truly holy melodies, have been
"composed by holy men. This song eschews the court
"of the Prince, and never enters the Concert Hall or
"Music Saloon ; it ventures within the Holy of Holies and
"abides there. No one has ever sought to drive it from
"out of the Church of God, unless he did not belong to
"the Church of God. This kind of Music has ever com-
"manded honour and esteem, because like a Queen, she
"sets up her throne in the Temples of the Most High,
"and with clear voice makes herself heard, when the
"preacher is silent in the Chancel. But if her sister y
"figured music, has anything to say, let her value the
"axiom: Musica debet esse honesta; 2 ) music must be ap-
propriate, and must not disfigure the plain-chant; non
"debet deformare cantum planum,"

If Kichard Wagner 3 ) wishes Church Music to become
again purely and exclusively vocal, so also has he ren-
dered valuable service to Choral Chant, studying to assign
to the Theatre what belongs to the Theatre, and preserve
to the Church what is strictly her own.

A Benedictine Father of Beuron in the Danube valley, in his
little book dedicated to the Gferman Hierarchy: Choral und Liturgie,
Schaffhausen, Hurter, 1865, has taken up the cause of the Chant very
warmly. He clamours for a proper method of singing the Chant,,
and names as a primary and essential principle for good, execution a
correct idea of its importance in Christian ivorship and of its connection
with the Liturgy. (This book is translated in 1 st vol. of Lyra Ecclesiastica.)

A still more complete and valuable work for promoting good
rendering of the Chant is the "Melodies Gregoriennes" of the Benedictine
Father of Solesmes Dom Joseph Pothier.

l ) In "Tractatus Musicus" etc. of P. Meinrad Spiess, cap. 15, p. 70.

*) Extravag. de vita et hon. Cleric. Cap. Docta.

3 ) Complete edition of his writings. 2. vol. p. 337: "The human
voice which is the immediate organ for delivering the Sacred text, and
not instrumental ornamentation, or I should say, that trivial fiddling

CHAPTER 4 th .

DIVISION OF THE BOOK.

In order to facilitate the study of the Principles and
Practice of Plain Chant the entire matter of this Manual
may be classified under the following heads: 1 st , Prelimi-
nary Notions; 2 na , Plain Chant, Theoretical and Practical;
and 3 d , Further notions of Plain Chant.

PART ist. PRELIMINARY NOTIONS.
It is not our intention to compile a method for teach-
ing singing, yet as plain chant demands the knowledge
of those elementary principles which are usually met with
in ordinary singing grammars, it becomes necessary for
us in this first part to treat in a condensed manner of
sounds, intervals, notes, lines, clefs, rhythm, management
of the voice, pronunciation, de. Sc.

PART 2nd. PLAIN CHANT, THEORETICAL & PRACTICAL.

This part divides itself into two sections, a) Theore-
tical, in which we explain the nature of the old Gregorian
modes and their employment in simple choral chant; and
b) Practical, where we introduce our pupils in short
paragraphs to an acquaintance with the Church Calendar,
with the arrangement and use of the several liturgical
books, and with the whole domain of catholic Gregorian-
Church music in one comprehensive view.

From the 10 th century musical theorists were accustomed
to divide all choral chant into accentus and concentus. *)

which enters into most of our present Church Music, should take the
lead in the Church; and if ecclesiastical music is ever to be restored to
its original purity, vocal music must oust the instrumental and occupy
the piace this has usurped."

*) Under the name Accentus, were classed those portions of the
Ritual Song chanted or intoned by the officiating Priest, the Deacon,
Sub-Deacon or other Sacred Ministers at the Altar; in contradistinction
to Concentus , which referred to all that should be sung by the As-
sistants or by a special trained Choir. To the Accentus belong, the
Intonations of the Gloria and Credo, the Preface, Pater noster, Gospel,

Following the order of the solemnities of Catholic
worship, and of the distribution of the chants employed in
each, the following arrangement will be observed: 1) The
holy sacrifice of the Mass, 2) the Canonical Hours, 3) the
extraordinary solemnities occurring during the Church year.

Under each heading we shall insert, as they occur,
the Decrees of the Sacred Congregation of Rites bearing
on the Chant, both what are to be found in the Ccere-
moniale Episcoporum, as well as in the several special
Decrees affecting certain cases or localities.

An Appendix contains general directions for Church
Organ playing, and special hints for the accompaniment
of Gregorian Chant.

The accentus is fully given in this book according
to the official Choral books, principally the Missal and
the Birectorium Chori; for the concentus the Graduals and
Antiphonaries must be consulted, as well as the extracts
made from them, such as the Ordinarium Missce, Vespe-
rale Romanum, &c. &c.

PART 3^. FURTHER NOTIONS OF PLAIN CHANT.

A further, deeper and more intimate acquaintance
with Plain Chant must be attained if ever it is to bloom
and flourish; the mere theoretical and practical knowledge
just referred to will not be enough.

This part of the Manual will therefore contain I.
general considerations and principles for the execution
of Plain Chant, and an inquiry into its spirit and its
intimate connection with Divine worship; II. Special
considerations for the execution of a) recitative chant,
b) modulated chant, and c) of those richer and fuller
melodies expressed in neuntes or formulas.

Epistle, Collects and Prayers, the Passion, Prophecies and Martyrology,
To the Concentus the Introit, Kyrie, Gloria and Credo (minus the in-
tonation), Gradual and Tract, Sequence, Offertory, Sanctus, Agnus
Dei, Communion, Antiphons, Responsories, Hymns &c.

PART I st .
PRELIMINARY NOTIONS,

CHAPTER 5 th .

NAMES OF THE NOTES. — CONSTRUCTION OF THE

SCALE.

I. As speech preceded writing, so also did choral
song precede any method of notation. It was long before
any successful attempt was made to indicate in writing
the different musical sounds according to their muteness or
gravity, their length or brevity, their strength or delicacy.

The theorists of the middle ages l ) followed Boetius
(ob. 524), who displaced the Greek (enharmonic- chromatic)
system by his latin (diatonic) alphabetical notation, although
he retained the Greek words for naming the sounds. As
lowest note of the scale he fixed la, an octave under
Mese {(^rjorj) or the middle note of a man's voice.

There is no authentic evidence that Gregorypie Great
indicated the musical sounds by letters, still less that he
established any system of notation; in all probability, he
availed himself of simple and grouped marks of accen-
tuation. Very early however the first 15 letters of the
Alphabet from A to P were employed for naming the
sounds which were also known as the "Boetian letters".
Later on, and for a prolonged period, the seven first
letters of the Alphabet written in different ways were
adopted for the usual fifteen sounds, namely:

ABCDEFGabcdefg aa. 2 )

x ) See on this subject K.-M. Jahrbuch, 1886 & 1887, in KornmüUer's
Article "Die Musiktheoretiker". The History of notation will be found
fully treated in the "Studien zur Geschichte der Notenschrift" of Dr. Hugo
Kiemann, Leipzig 1878, also in Ambros "Geschichte der Musik" II. Vol.
and in P. Ans. Schubiger "Die Sängerschule von St. Gallen", and Mus. S.
1889 in the article "Die Interpunktion und der Choralgesang."

') In modern notation: 9 ' ~~~^r

After the first seven letters the tones and semitones
returned in the same order. Theoretical writers fully a
hundred years before Guido's ! ) time (born about A.D. 1000)
added the Greek letter Gamma below the scale, and
extended it upwads to ee ? so that Guido's scale numbered
20 sounds, thus:

r A B C DEFG a b t[c d efgaa bbt[ cc dd and ee.
graves finales acutae superacutae excellentes superadded

Each group of four notes, with the semitone variously
located, was called a Tetrachord, and the union of all
the Tetrachords in a continous scale was called the
Systema maximum.

The note b, in the second septenary, and bb in the
third, (not the first B) may represent our b\ natural
(b durum or quadratum) , or |? i. e. b flat (b motte or
rotundum).

"The graves, (grave or deep), are so called from their
"low deep sound; the finales, (final), because every melody,
"(as we shall see further on when we come to speak of
"the Modes) terminates in one or other of them ; the acuta,
"(acute or sharp), from their high acute sound ; the super-
u acutce, because still higher than the acute; and the ex-
u cellentes, (excelling), because surpassing all the others in
"the pitch and fineness of their tone." 2 ) These sounds
had no fixed pitch, as in modern music; a for example
might be sounded as our c, provided only the semitone
which occurs between B-C, E-F, a-b, bj}-c, e-f, aa-bb,
bbjf-cc be retained in its proper place.

Guido himself, or Guido's school has also the credit
of adopting the syllables ever since used in Solmisation

*) See on Ghiido, Angeloni, Kiesewetter, Ambros. II. vol. pp. 144
to 216, and Kornmüller in Cäcilien-Kalender 1876 & 1887.

2 ) See the article: "Die Choralkompositionslehre vom 10. — 13. Jahr-
hundert" of P. M. Kornmüller in "Monatshefte für Musikgeschichte"
1872, p. 63.

or solf aing, for the notes CD E F G a. They were the
initial syllables of a verse in the Hymn sung on St. John
the Baptist's Festival. 1 )

Ut queant laxis .Famuli tuorum,

i^esonare fibris Solve polluti

Mra gestorum Labii reatum,

Sancte Joannes.

In this succession of six Tones, called thenceforward
a Hexachord; the semitone lies between the 3 d and 4 th
degree, E-F; the same occurs in the second septenary
from c to aa.

This position of the semitone between the 3 d and
4 th degree is also verified in the scale or hexachord from
r to JE, Gr to e, g to ee, F to d, and / to dd, except
that in these two latter hexachords, the e 'b" and ( W
must be understood to be "b flat" and not "b natural",
in order to avoid the Tritonus or augmented fourth.
These six sounds were marked with the syllables ut, re,
mi, fa, sol, la, and as mi falls on e and fa on f the
semitone was always designated as mi fa.

OBSERVATION. Together with the alphabetical
designation ten of the twenty sounds can be indicated
by two, six by three, and four by one of the six syllables

*) This Hymn was written about 796 by Paul Warnefried, known
as Paulus Diaconus. Gruido utilised the melody of it then in use, to
facilitate for his pupils the striking and naming of the Tones, as the
several lines of the verse commencing with C proceeded in regular
order through the notes of the scale to a. On the syllable sa however,
g occurred again. In a Montpellier Manuscript belonging to the
10 th century the same melody is given to the Ode of Horace "Est mihi
nonus". It cannot now be decided whether it was originally composed
for the Ode or for the Hymn "Ut queant". See Coussemaker in his
"Histoire de Vharmonie au moyen-age". Paris 1852, p. 103, table X.
The melody was added to according to the wish of the S. Congre-
gation by one marked as "second" in the official editions. It is worthy
of remark that St. John the Baptist well into the 17 th century was
honoured as Patron of Singers, because of the reference made in a
portion of the Hymn: "Qui reformasti genitus peremptce organa vocis",
as at his birth speech was restored to his father, Zachary.

.§

8
■Ho

f§"

? I ^

r « a

0.3

I ».00

according to the position they occupy in the hexachord,

as in the following table:

ee la

dd la sol

cc sol fa

bb J?fa flmi

aa la mi re Nete hyperbolceon

g sol re ut Paranete kyperbolceon

f fa ut Trite kyperbolceon

e la mi Nete diezeugmenon

d la sol re Paranete diezeugmenon

c sol fa ut Trite diezeugmenon

b |?fa t|mi Paramese "i Dia-

t a la mi re Meson / zeuxis

Gr sol re ut Lichanos meson
F fa ut Parhypate meson
E la mi Hypate meson
D sol re Lichanos hypaton
C fa ut Parhypate hypaton
B mi Hypate hypaton
A re Proslambanomenos.

^r ut

The three Hexachords ! ) beginning with J 7 , G, g, are
called Hexachorda dura (hard), on account of the Jf, that

*) The greek names annexed in the table above were given
from the time of Boetius by the mediaeval theorists as secondary
names to the fifteen sounds of two octaves, called the systema teleion.
We add them here for the benefit of those who may wish to study
more deeply the grecian and mediaeval terminology. The greeks had
four Tetrachords, of which the lowermost (hypaton) went from E to Bj[;
the A was added on below and called Proslambanomenos; the second
Tetrachord (a to E) is called Meson. Between a and bfc] occurred the
Diazeuxis (separation) and from e to b downwards began the Tetrachord
diezeugmenon. The fourth Tetrachord ranged from aa to e and was
named hyperbolceon (the high note). Nete means highest, Paranete next
highest, ' trite, the third ; mese is the middle degree of the system, para-
mese next above the middle, lichanos the index-finger note, parhypate
the penultimate degree of the lowermost series, li the Diazeuxis was
not to be observed, then you should read from the highest note of
the Tetrachordon meson (a) to the paranete diezeugmenon the semitone
b flat, and the tetrachord resulting was called Tetrachordon synemmenon
(bound together) the

a became mese

b flat „ trite

„ paranete

nete

synemmenon.

is b durum occurring in it; the two beginning with C
and c are called Hexachorda naturalia (natural), because
neither a \? or \ occurs in them; and the two beginning
with F and f are called Hexachorda mollia, because of
the presence in both of the b molle or rotundum. Again
G has the syllable sol in the natural hexachord, re in
the soft or molle hexachord, and ut in the hexachord
durum: b natural can be only called mi, and b flat fa.
These three hexachords may be dove-tailed into one
another in the following manner.

ut, re, mi, fa, sol, la.
r, A, B, C, D, E.

ut, re, mi, fa, sol, la.

C, D, E, F, G, a.

ut, re, mi, fa, sol, la.

F, G-, a, b, c, d etc.

If the compass of any Hexachord were exceeded,
and another commenced, the tones belonging to the new
Hexachord must be so designated that the syllable mi fa
may coincide with the position of the semitone.

For example, if you wished to self a the modern
scales of F or G major, according to the mediaeval sys-
tem you should proceed, thus:

f g a^bb c d e / ~" s f g a b^ c d e fjf g.
ut, re, mi, fa (sol) ut, re, mi, fa (sol)

ut, re, mi, fa, ut, re, mi, fa.

In this system of Mutation consisted the peculiar
us of the so-called Guidonian hand.

For a long time this difficult and complicated Gui-
donian Solmisation or Solfisation, (according to Tinctoris)
continued in use, until with the extension of the Tone-
system below Gamma, and above ee, and the develop-
ment of the system of the octave and of harmony, a new
syllable Si was added to designate the seventh Tone of
the succession. This syllable when it expressed B na-
tural was written Si, when B flat, Sa or Za; and thus
octave scales could be constructed without the mutation
of syllables.

II. As the Theory of music became still further de-
veloped, the efforts to establish a fixed and adequate

method of writing the sounds, in other words notation,
were redoubled. All possible musical sounds may be
reduced to, and classed under, seven principal or found-
ation sounds. These seven sounds may be repeated as- 1
cending or descending in regular alphabetical order, thus

ABCDEFGabcdef gaa etc.
la si Bo re mi fa sol la si Bo re mi fa sol la etc.
I. II. III. IV. V. VI. VII. I. II. III. IV. V. VI. VII. I. etc.

each octave forming what is called a scale, (from scala,
a ladder). Of these seven sounds, five are tones, and
two are semi-tones; and every scale proceeding in this
regular manner is called diatonic, 1 ) that is "by tones".

From B to C, (Si-Bo), and from F to F (mi-fa) the
distance or span is not so great, as from C to B (Bo-Be).
Mi-Fa therefore and Si-Bo are called natural (also major)
semitones. Bo-Be, Be-Mi, Fa-Sol, Sol-La, La-Si are five tones.

OBSERVATION. These five whole tones may, as in
modern music, be divided into ten chromatic or minor
semitones by means of the so-called musical accidents;
— the diesis or sharp represented thus jf; and the flat
thus j?. The diesis or sharp raises the note to which it
is prefixed, a (minor) semitone, and the note is then called
c sharp. The >, Mmol or flat lowers the note a (minor)
semitone, and it is then called B flat, supposing!) to be
the note affected. These subdivisions of the scale are
called chromatic, they are 12 in number, and a scale pro-
ceeding through all of them is called a chromatic scale.

Every whole tone is divisible into a major and minor

semitone: ex. qrat. c — d =*= c-^-cjJ-^-d, or c-^-d|?-^-d.

«? minor if major ' major Y minor

The semitone was called by Plato Limma, 2 ) because im-

*) jovog (from Teivsiv, to span), diaiovog is the name given by
the Greeks to that scale which from the first note to its octave con-
tains two half tones and five whole tones, consequently made up of
the natural principal sounds, (see Definition of Gregorian Chant.
Chap. 1 st .)

2 ) "Semitonium a Platone Limma vocatum eo quod non sit plenus
tonus sed imperfectus, neque dimidium toni, non enim in duas sequas

perfect, and not dividing the tone into two equal parts;
one part being greater than the other and called apotome
or major semitone, the remaining part diesis or minor
semitone. The whole tone is made up of 9 commas, of
which 5 are found in apotome and 4 in diesis. Thus from
C to D we have c— c sharp, — diesis or minor semitone,
and c sharp — D, — apotome or major semitone. From
G to F descending we have G — G flat, minor semitone,
G flat — F apotome, or major semitone. This mathema-
tically exact progression constitutes the enharmonic scale;
but practically in modern music it exists only in name;
as all semitones whether affected by flats, sharps or na-
turals are considered equal intervals. This practice may
perhaps be traced to the recently extended use of keyed
instruments, organ, piano-forte or harmonium; in which,
in order to facilitate modulation, a system of tuning is
adopted, whereby the odd commas of the enharmonic
progression, are distribued equally over the entire scale;
and hence it is called the equal temperament system.
The modern chromatic-enharmonic scale therefore is con-
structed thus : *)

-.11 ^ .^it ii ij. , i. .

C 1

! C #

d( dfl

e^f I

s \ s#

a i aS

ti%

II;

II,

c 1

1 di>

d | et>

e~f 1

g 1 at?

a I bb

3. 4.

5. 6.

8. 9.

10. 11.

12?

Plam Chant admits the diatonic or natural semitone,
(mi-fa, si-do), and the limma or chromatic semitone in the
single case of the interval from La to Sa or Za; but
altogether excludes the diesis, and knows nothing of the
enharmonic scale. The sign x (St. Andrew's cross) raises
the note two minor semitones 8 / 9 , so that x F and g make
almost the same impression on the ear; in like manner M?
(double flat) lowers the note 8 / 9 of a whole tone, e. g.
W?E=D. The sign jj (B quadratum) or natural removes
the effect of the single jj or b, and restores the note to
its natural condition.

partes dividi potest, sed insequales tantum, quarum alter semitonium
majus sen apotome, alter semitonium minus seu diesis, quae ab apotome
snperatnr commate" Cottonius apnd Grerbert, II. 238.

x ) On the various proposals made to improve Solmisation by the
use of syllables, see my Preface to the Solfeggi of Bertalotti, second
edition 1888.

CHAPTER 6 th .

PROGRESSION OF THE SOUNDS OF THE SCALE. —

INTERVALS.

"The Tones or Sounds of the scale work in with
each other in six different ways, namely: as a fulltone,
a semitone, a major third, a minor third, a fourth and a
fifth. Other relations, so frequent in modern music, such
as major and minor sixths, sevenths and octaves, if im-
mediate and direct, are never to be met with in Plain
Chant." *)

An Interval is the distance in acuteness or gravity
between one sound and another. Unison 2 ) therefore is
not an interval.

That sound which we take as first in counting is
called a Prime.

The distance from any given sound to the next ad-
joining, is called the interval of a Second: as from A to
B; — B to C or descending; A to G-, — G to F. There
are two kinds of second; — the major second, comprising
a full tone, as from C to D — (Do-Be), and the minor
second, where the natural diatonic semitone occurs as
from F to F — (Mi-Fa) or B% to C — (Si-Bo); or A
to B flat — (La-Za).

The distance from any sound to the third degree
from it ascending or descending is an interval of a third;
as: A-C : B-D : G-E : F-D.

There are two kinds of thirds; major and minor. A
major third includes two whole tones, as:
C-F (Do-Mi); F-A (Fa-La); or descending B-G (Si-Sol).

A minor third includes one tone and a semitone, as:
G-Bflat (Sol-Za); A-C (La-Do) D-F (Re-Fa) B-D (Si-Be).

x ) See P. U. Kornmiiller 1. c. p. 63.

2 ) Unisonus quasi unus sonus; . . . non est modus neque cantus,
quia cantus est inflexio vocis, i. e. omnis cantus qui inflectit vocem
variat sonum. Ibid. p. 63.

Anciently this twofold interval was called respectively
Bitonus and Semiditonus.

The interval which includes two tones and a major
semitone is called & fourth; thus Do— Fa (G— F), i. e. tone,
tone, and semitone; or La-Re (A-D), i. e. tone, semitone,
tone; or Si-Mi (Bty-E), i. e. semitone, tone, tone. Its an-
cient Grecian name was JDiatessaron. The interval known
in modern music as the augmented fourth, including three
full tones, as from Fa to Si (F to B natural) and called
the Tritone, 1 ) is not allowed in Gregorian; and it is to
obviate this that the b -flat is introduced; — the only
accidental admitted in Plain- Chant.

The Fifth, (ancient name Diapente) includes three
full tones and a major semitone; as: D-A (Re-la) i. e. tone,
semitone, tone, tone; or E-B^ (Mi-Si) [semitone, tone, tone,
tone; or F-C (Fa-Do) tone, tone, tone, semitone; or G-D
(Sol-Re) tone, tone, semitone, tone. This interval is called
the perfect fifth; to distinguish it from what is known in
modern music as the diminished or false fifth; consisting
of two tones and two semitones, e. g. B^-F (Si-Fa). This
is but the inversion of the objectionable tritone, and
consequently the B must be lowered a semitone and so
made to constitute a perfect fifth.

The Octave (Diapason) includes five whole tones and
two semitones, that is to say the entire scale. Hie ca-
nendi modus rarissime in cantu usitatus reperitur, writes
Engelbert in the 13 th century. It is met with only twice
in the Choral Books, in the solemn Be missa est, and in
the Amen of one of the melodies of the Credo; but in
the latter instance the Octave is separated from the first
of the scale by a breathing space. As already observed
sixths or sevenths are sometimes met with but having a

*) "Tritonus, constans tribus continuis tonis, diatessaron non repu-
tatur" Guido of Arezzo.

connecting note between. For example, re-la-si (tonus cum
diapente); re-la-sib (semitonium cum diapente); re-la-do
(semiditonus cum diapente).

CHAPTER 7 th .
NOTATION. — CLEFS.

I. The notes now used in Plain Chant are signs
which by their shape indicate the relative duration of the
sounds, and by their position the names of the sounds
and their respective acuteness or gravity.

1 st . Shape. John Guidetti distinguishes three shapes
of notes which are now also employed in the authentic
choral books, namely a), longa i. e. long (note) ; it is used
either to indicate an accented syllable, or to initiate or
end a connected group of two, three, or more ascending
or descending notes. As the accents in speech are not
all equally long or strong, so neither are the longa nor
the, b), brevis (short note). The time value of this note
is regulated by the greater or lesser length of the syl-
lables with which it may be united, and sometimes
approaches the long a y sometimes the semibrevis; c) semi-
brevis is about half of the brevis. 1 ) In none of these
three forms is there any fixed or regular measure of time.

*) In the Medicsean edition of the Graduate Romanum the brevis
is placed over short unaccented syllables having bnt one note to

each syllable as ~ n M L whilst other editions, ♦ W ♦ E| 8=

for example ' = especially that of Gtai- ' =

o-ra-ti- 6-nem detti, wrote o-ra-ti-6-nem.

The semibrevis is never alone, not even over a short syllable bnt only in

descending groups of notes, e. g. §g zS g Bgg fc -fp. Printed copies

of the 16 th century are to be met with where single -noted syllables
always have the ^ (longa). The notion that good accentuation and
correct declamation are facilitated when the longa is employed for ac-
cented syllables, the brevis for short syllables and the semibrevis for
still shorter syllables is not without good foundation. The commission
for publishing the official Choral books however finally determined in

OBSERVATION. Up to the 11 th century, Plain Chant
was usually taught by oral tradition, and the signs then
usually employed under the name of neuntes (vzv^ia sign,
or nvevf.La breathing) served for little more than to recall
to memory an already well-known melody and especially
indicate its proper rendering. The letters of the alphabet
served for theoretical instruction, the newnes for already
well practised singers and are called on that account
notce usuales, notes, whose importance the scholars should
learn from custom and tradition.

2 nd . Position. In order to bring more readily before
the eye the names of the notes, Plain Chant writers
usually adopted a stave of four lines, later and much
more seldom one also of five lines. The notes are placed
on, over or under the lines and in the spaces between.

If in the following example we call the first note c,
the names of the other notes placed in regular succession
on the lines and spaces can be given without difficulty.

cde fgabt|C

ut re mi fa sol la si ut

In case the melody should extend higher or lower
than what may be contained within the four lines and
spaces, then recourse is had to what are called ledger

lines; thus

la a

=== or

OBSERVATION 1 st . The traditional character of
the old notation is so worthy of respect, and its em-
ployment in the liturgical books has been so steadfastly
maintained for centuries, that to change it into modern

1883 to employ for single notes to syllables either the H or *(, and
the ♦ never alone but only in descending groups as in the Medicsean
edition.

notation seems neither necessary, useful, nor advisable.
Four lines and three species of notes are amply sufficient, j
Frequently it has been proposed and in some places the
proposal has been acted upon, to convert the Gregorian
into modern notation, and so facilitate its being taught to
the masses; but it should be remembered that the , -J
and j of modern notation, are tied down to a fixed mea-
sured time, whilst it has been proved by experience that
singers when exercised on the four line stave, acquire more
speedily a correct knowledge of the intervals, than when
using five; and in groupings of several notes ascending
or descending, the united smooth rendering thereof is
rendered much easier and more comfortable to the eye
by the employment of the| thick "Hack" notes than by
the open "white" notes.

Nevertheless this system is not to be universally
condemned, and those singers and Church Choirs who
would rather abandon Plain Chant altogether than take
the trouble of learning the Gregorian notation, may be
permitted to adopt a translation of it into modern no-
tation, especially if in such editions care is taken to
mark the note-groupings of the original by binds or ties.
The following excuses for this proceeding may be held
valid: 1 st the need or desire of insufficiently instructed
Choirs, who however are well acquainted with the use
of the modern G (violin) clef: — 2 nd the now common
practice of writing the Gregorian melodies in modern
notation in the actual written accompaniments ; 3 dly the
decision arrived at by the Pontifical Commission in 1883,
of adopting only three forms of notes; ^, N, and ♦, which
can be fairly substituted by the modern forms, , <J ?
and j, provided that the singers study to preserve the
free rhythm of the Choral Chant.

To mark the note-groupings over the separate syl-
lables the modern "tie" or ligatura will serve very aptly
as for example:

-^EE^^^^g=p^S

Ky - ri - e e - le - ison.

S— ^j-j? ^^ — ^ = ^F I ä~ — esF^^FEJ — d 1 ^" 1 ^ ^—- : =
Ky - - ri - e e - - - le - ison.

OBSERVATION 2 nd . The neumm 1 ) have been men-
tioned as the notation in use previous to the invention
and adoption of the form of notes just explained. The
different forms and names of these neumes may be seen
in the appendix at the end of this manual. They consist
of points, little hooks, strokes and flourishes, which by
their shape and position discharged the same service
which now falls to our present note-system. The formula
of the neumatic notation can be reduced to certain fun-
damental forms which are still in use and indicate the
manner of delivery rather than the exact reading of the
melody. They consist of the acute, the grave and the
circumflex accent marks , and seem to have been ori-
ginally a system of stenographic directions for declamation
and pronunciation, and the raising or lowering of the
voice. These most employed are the: Punctum, Virga,
Podatus, 2 ) Clivis, 3 ) Torculus, Porrectus, Scandicus, and
Climacus.

Other note signs, such as, Stropliicus, Ancus, Oriscus,
Quilisma, Pressus, were adapted to very well trained

*) All researches concerning the neumes have more historical than
practical value, and archaeological science has yet a great deal to do
before all the necessary light can be thrown on these quaint signs.
There is a learned treatment of them in Pothier's celebrated work Les
melodies Gregoriennes, from which the neuma tables at the end of this
book are taken. See also upon the Paleographie musicale, the article
of P. U. Kornmüller in the K.-M. Jahrbuch 1890, as well as the post-
humous work of Th. Nisard, Earcheologie musicale et le vrai chant
Gregorien. Paris, Lethielleux.

2 ) The Roman Commission on the 1 st Dec. 1883, fixed as normal the
form ijfl, when an accented syllable is under it and when the note
following is on the same degree of the scale or lower than the last
of the podaias. If however the following note is higher, or the
group is placed over a short unaccented syllable then it is written
thus h*.

3 ) The note groupings =^l=5= °f tne Medicsean edition of 1614,

and which also found their way into first the Folio official edition are

only abbreviated forms of =ic=P= etc.

Magister Choralis. O

singers, and seldom are effective even when well executed,!
The natural declamation and gravity of the melody do
not need these affected mannerisms. 1 )

These note-groupings constitute, in a certain sense,,
the elements of Gregorian Chant, just as words are the
elements of speech, and the beauty of the melody prin-
cipally depends on their judicious alternation.

When in the 12 th century the neumatic writing com-
menced to glide into the square or horse-shoe shape of
notation, these old forms gradually disappeared, nothing
remaining but the signs *|, W and ♦, which even up to
the 15 th century were also employed in measured music.
In the Vatican Library there is a valuable manuscript
of the 15 th century (catalogued 5129, fol. 169) of con-
siderable historical importance with reference to neumatic
notation. A certain Peter Talhanderius, a Frenchman
by birth (according to Fetis) complains that the choral
books are elegantly but not correctly transcribed; ob-
serving: a) that the Caudata 1, whether alone or grouped
with other notes should be employed only for accented
syllables, except in the form of a Clivis \. b) The Semi-
brevis ♦ should never be used alone but only in descend-
ing groups in union with *| or H, and then only in a
group of not more than four notes. These and similar
useful observations for breathing and pauses in the
longer note-groupings do not appear to have been un-
known to the transcriber of the editio Medicma, and
were subsequently adopted by the Pontifical commission
in order to employ an uniform system in the official
Editions.

OBSERVATION 3 d . The word neuma after the
11 th century was also used to describe a melodic sequence
of several notes to be sung all to the one syllable or
vowel. John Tinctoris observes; "Neuma is a song or
Chant which hangs on to the end of a word, without a

x ) Gerbert, Scriptores, Vol. I. pag. 5. The Instituta Patrum which
date from before Isidor of Seville (ob. 636) give this direction: "Ca-

veamus ne neumas conjunctas nimia morositate . . . vel disjunctas inejpta
velocitate conjungamus. — Scire debet omnis Cantor quod literce quce lique-
scunt in metrica arte, etiam in neumis musicce artis liquescunt."

word." Such neumas are constantly met with in the
Graduate with the Alleluias which follow, in the Tracts,
in the chant for the versicle after the Hymn and else-
where.

II. Four or five lines of a stave do not suffice for
placing all the notes within the compass of the human
race; moreover no one of the seven tones had obtained
is yet any fixed place on the stave, from which all higher
ind lower tones might be counted.

In the 11 th century they used two lines as Clefs. The
lotes were placed on them, or over, or under or between
;hem. A red line denoted F, and a yellow (also green)
ine denoted C. 1 ) Later the letters F and C were pre-
ixed to the coloured lines and between them other lines
vere punctured on the parchment. Soon the difference of
colour was abandoned, and all clef lines were coloured red.
From the Gothic form of the letter F, the sign ib was
onstructed, and from the Gothic C, the sign j^, as still
[at er from the Gothic G the modern Violin Clef f$~i\
?rew up. (See Tables in the Appendix.) MP—'

In Gregorian Chant there are employed only two Clefs,
the C or Do clef = b,
the F or Fa clef — 1]%:
and in the official Choral books these are used in five
different positions,

All notes placed on the line where the Bo clef is
found are called Do; and where the Fa clef, Fa.

The other notes on the lines and spaces can easily
be named, once we have this key; thus:

x ) In manuscripts with red, yellow and green lines the last men-
tioned is generally uppermost and marks f, whilst the yellow marks c,
and the red F [in the lower octave]. All fix the position of the
Semitone.

c G

0-
i —

b a

äir=E*

FGabcEDC

F E D a b

D A C A r

If the Choral melody have such a compass that the
four line stave will not contain it, then the clef is moved
a line higher or lower, or the Fa clef is exchanged for
the Bo clef or vice versa, thus:

:^=i=i5Ez^E^^=^3^^

mi - se - re - re no - bis.

mi -hi. Si quis etc.

Qui tol - lis etc.

The little sign like a note ■

(also

written

)

found at the end of lines, and before a change of clef,
if such occur in the middle of a line, is used to indicate
the succeeding note; and is therefore called a custos,
watchman, guide or direct

OBSERVATION. It must be admitted that an im-
portant step has been taken in the official editions to-
wards improving the delivery of the Chant by noting the
accented syllables only with a longa, % Moreover in these
editions all changes of clef, as far as possible, are avoided,
and it is a fixed rule never to employ a ledger line above
the stave though occasionally one may be employed below.
Guido in his Micrologics (Gerbert, Scriptores. Vol. II. p. 37.)
writes "Quomodo auiem liquescant voces, et an adhcerentur
vel discrete sonant, quceve sint morosce et tremulce, et suhi-
tanece, vel quomodo cantilena distinctionibus dividatur, et
an vox sequens ad prcecedentem gravior, vel acutior, vel
cequisona sit, facili colloquio in ipsa neumarum figura mon-
stratur, si, ut debent, ex industria componantur."

If Guido had taken the trouble of leaving these rules
in writing instead of delivering them viva voce, there
would not have arisen so many different opinions con-
cerning the singing of Plain Chant: since everybody fol-
lows his own taste and the custom of his country. The
present notation of the authentic choral books if attent-
ively noticed, gives us excellent rules both for the correct
accent of the words, and the alternation of quicker and
slower methods of execution. On the other hand however
it must be borne in mind that no method of musical
writing will ever be capable of representing perfectly and
of itself alone, the movement, life, and peculiar proper-
ties of the Gregorian melodies.

CHAPTER 8 th .
RHYTHM. — PAUSES.

I. Movement regularly varied according to some fixed
rule is called Bhythm, or measure; even measure as well
as equal measure. Musical rhythm is verified when one
tone is prolonged more or less than another, and sung
with greater or lesser force. We have artificial [or poetical]
rhythm in the various metres of Poetry, and natural
rhythm in the speeches of Prose.

All the human senses are influenced by rhythm. The
ear especially becomes wearied and resents a long sequence
of sounds of equal force and duration. A succession of
weak and strong syllables and their combination as a
whole by means of accent constitutes the beauty of speech.
In Plain Chant, Rhythm is intimately bound up with the
language, and the regular cadence of the latter must be
shared by the Gregorian melody. The musical melodies
are as it were constructed on the melody of the language
itself, — the language being simply clothed in musical
sounds; so that the fundamental rule for understanding
Gregorian melody and singing it effectively is: — "Sing
the words with notes, as you would speak them

without notes." The natural rhythm of spoken language
is therefore the fundamental rule for the rendering of
Plain Chant. The even measure (not equal measure) which
is observed in a well-delivered speech, the natural melody
of speech in undetermined tones must in the practice of
the Chant be transferred to fixed Tone-intervals.

One of the first requisites therefore for good singing
of Gregorian Chant, is a knowledge of the Latin tongue,
of its peculiarities, its prosody, its scansion; in a word
Gregorian Chant demands "faultless, clear, scientific pro-
nunciation and declamation."

When a syllable is rendered prominent by an in-
tensified and emphatic effort of the voice it is said to
be accented. This accent has a great duty to perform in
Gregorian. Through the proper use of it, the main
features of the melody are distinguished from the less
important, and words or syllables of consequence are
conspicuously brought to the front.

Here it must be borne in mind that it is not the
number of notes placed over a syllable, that makes the
syllable unaccented or accented, but rather their stronger
or weaker intonation. Hence we often find in such words
as Dominus, quite a group of notes over the short syl-
lable mi, and but one or two perhaps over the accented
syllable Do. In this and similar instances the group of
notes over the short syllable, should be sung quickly but
smoothly and with a depression of the voice; while the
single note (if there be but one) over the syllable Do
should be delivered with emphasis and power. From
what has been said we may gather how faulty is that
method of singing which measures out to each note and
syllable equal time-value (Isotony or cequalitas cantilence).
The ear is offended with the speaker who would recite
the syllables and words of his speech with equal speed or

sluggishness, and experience proves that nothing is so
tiresome to listen to as monotonous, isotonous chant.

OBSERVATION. Hitherto we have spoken of rhythm
as even measure, but it may also be considered as mathe-
matically equal measure. A certain note of fixed (time)
value is taken as a standard of unity, which may be
divided and subdivided; and in all those divisions and
subdivisions the value of this unit must be fully ex-
pressed. E.g. = dJ=JJJJor|s| = 00 = -U i-J
pJJJJJJJ'J- These time-sections are now indicated
by short perpendicular lines drawn across the stave called
Bars. This is the system of Time in modern music. The
Harmonists of the middle ages used no bars (i. e. per-
pendicular lines). With them the duration of the notes
was well determined by the form of the notes but with-
out bar lines, so that the melodic outlines were more
easily recognised and the right accentuation of the words
less interfered with. From the fact that measured music *)
is of much later date than Plain Chant it is evident how
unreasonable and unscientific it would be to tie down
the free rhythm of Plain Chant in the fetters of strictly
measured Time Bars. So that in Gregorian we have no
measured time and no Bars, in the modern sense.

II. Rhythmical progression essentially requires Pau-
ses, and both the physical and mental powers of the
singer demand time to gather fresh strength (to take
breath).

In even measured Rhythm such as we have in Plain-
Chant, the Pauses are partly left to the feeling or just
discretion of the singer, (never to caprice or necessity,
from want of breath); but the meaning of the phrase
should never be altered by the Pauses, nor the word so
broken up that it becomes difficult to the hearer to join
together its constituent syllables, neither should breath
be taken immediately before a syllable in the middle of a
word. Generally speaking the Pauses or places for tak-

x ) Cantus mensiirabilis. Franco of Cologne.

ing breath are marked in the ritual Books, 1 ) as follows:
1) =3=1= is either a breathing mark, useful especially in-
large choirs where there are many singers, in order that
all may begin and end the words together; or it serves-
to divide the phrase into members and sections. 2 ) 2) This
last object is more generally attained by the simple per-
pendicular line drawn right across the stave, thus =P=;
which also marks off the melodic and rhythmical mem-
bers of a musical phrase. This mark is never to be
confounded with the bar in modern music, there being
no measured time in Gregorian and consequently no time
bars. 3) ==§= This, the double bar, is the sign used to
denote the close or termination both of the intonation
and of the entire phrase or section. 3 )

If an unusual number of notes in a neuma is divided
into two or three sections by a separation of the notes-
and without being indicated by the breathing marks i
or I, the shortest pause is to be made between each
section, just enough in more numerous choirs to keep the
voices together and enable them to grasp more firmly the
melodic phrase and rhythmical division. Let the following
rule for the Pauses be observed: "According to the sense
of the words, or the sentiment, or the solemnity of the
occasion, or the number of the persons present, or the
dimensions and acoustic properties of the place where
Gregorian is to be sung, the Pauses must be of varied
duration; they must always be natural, and should never
be mathematically timed. 1 ' Pauses are in singing, what
the comma, semi-colon, colon and full-stop are in reading..

*) The Folio edition of the Grad. Bohl has only the perpendicular
lines (N°. 2) as breathing marks , but it is understood that at every
punctuation mark in the Text breath should be taken.

' 2 ) In the Octavo edition of the Grad. Eom. these pauses are more
than sufficiently indicated.

3 ) In Introits, and Antiphons this sign marks off the portion to
be intoned (the first word or two).

OBSERVATION. In the most recent editions of the
Roman Choral Books, the breathings and phrasings are
so fully indicated that well trained singers can without
difficulty dispense with any further pauses. It remains
however for the conductor to determine other points of
rest, in long groups of notes such for instance as in the
Alleluja neumes, if he thinks it necessary.

CHAPTER 9 th .

THE VOICE.

I. To fully acquire the art of singing, and the correct
management of the voice, a competent master is necessary,
and constant practice of solfeggios &c. However a few
theoretical rules may be^ here given, which if carefully
applied will render material service.

[OBSERVATION. The human voice may be said to
belong to that class of musical instruments called reeds,
in which a current of air is employed to throw a tongue,
or the edges of a membrane into vibration. Take for
example a trumpet. 1 ) The reed, or vibrating portion of
the trumpet, is formed by the lips of the player, which
are tightly pressed against the mouth -piece of the in-
strument, and formed into a narrow slit; through which
slit the air is blown from the mouth, setting its edges
in vibration in its course. The tube of the trumpet only
serves to modify and give character to the sounds gene-
rated by the lips; — and the sound which they produce
is raised in pitch by narrowing and shortening the aper-
ture between them, or by increasing the tension of the
edges of the slit. Now just such an instrument is the
human voice. It consists of four parts, which we will
arrange in the order in which they exist, placed one over
another: — thus:

*) Though we select a trumpet as an example of a reed, we are
aware that it is not classed amongst reed instruments, but the manner
of blowing it is quite similar to the manner in which a reed is set in
vibration.

Mouth

{a cavity to modify and vary the character of the sounds as the tube

in the trumpet),

Reed

(whose vibration produces sound),

CD 2 <^

3§

Bellows or wind chest
(to hold air, and force it through the windpipe).

To commence with the lowermost part. In the wind-
chest, — commonly called the lungs, we have a provision
for three things, — viz: first, for holding a good supply
of air, i. e. breath; secondly, for sending it upwards with
proper force; and thirdly for the chest itself to act as a
sounding -board to the voice, and make it reverberate
more loudly. The next part of the apparatus is the wind-
pipe, or air-tube, a thing of beautiful mechanism, elastic,
so that it can be made longer or shorter, and furnished
moreover with a contrivance for increasing or decreasing
its diameter. Immediately above the windpipe we meet
the reed, called by anatomists the larynx, or organ of
the voice. Its framework is composed of five principal
cartilages, which are capable of being moved on each
other in various directions by muscles, so as to act upon
two elastic cords, or little strings of highly elastic tissue,
one on either side, passing from the front to the back of
the tube, and enveloped by the membrane which lines it.

They are called the vocal ligaments, or vocal cords
and it is only this portion of the larynx, which forms
the reed, generating the voice. The aperture between
this little strings, allowing the air to pass from the lungs,
is called the glottis. It opens into a small cavity which
serves all the purpose of the mouth piece of a trumpet,
giving the little strings room to vibrate freely; and this
cavity is terminated above by another pair of cords or

strings, not quite so elastic, and more apart from each
other than the inferior pair. They are called by ana-
tomists the false vocal cords, but have no share whatever
in the production of the voice.

Now when we are merely breathing quietly, these
true vocal cords lie back, and do not interrupt the current
of air that is always passing upwards and downwards
between them; but when we begin to speak, and still
more when we begin to sing, these vocal cords are brought
near together, so as to narrow the air passage or glottis
into a slit; they are tightened by the action of the sur-
rounding muscles; and the air breathed upwards from
the lungs, being obstructed by this narrow slit, throws
the edges of it into vibration, and this vibration we
recognise as the human voice.

The other portions of the throat and mouth, the uvula,
the palate, the walls of the mouth, the tongue, the teeth
and the lips do good service in modifying and improving
the quality of the tone, and are essential for articulation;
but the voice itself is produced by the simple but beautiful
mechanism which we have just attempted to describe.
The strength or power of a voice depends not only on
the dimensions or muscular activity of the larynx but
much more on the easy working of the lungs and breath-
ing organs; whilst the cavities of the mouth and nose
also contribute to its resonance. The acuteness or gravity
of a voice is regulated by the size of the larynx, which
is larger and wider in deep voices. The good quality of
the voice, depends on the symmetrical, well-arched con-
struction of the organs that serve to produce it; and its
flexibility on the general healthiness of the larynx and
elasticity of its muscles.]

1) To sing with power we must have a copious
supply of air — breath — always ready at hand. The
chest and the muscles below it should be kept well equal
to action, and guarded against anything that would pre-
vent their freedom of motion. The drawing in of the
breath should be quick, the breathing it forth slow and
without violence. Special breathing exercises should be
made before singing is attempted. The throat should not

be tightly muffled, the head should be kept erect, not
thrown back nor yet bent forward. Constant singing in
a sitting position injures the voice.

2) A full, clear, metallic tone, depends principally
on good physical organization, nevertheless, a tiny voice
may be much improved, by a judicious management of
the breath, and a low position of the larynx.

3) The so-called guttural tone, or singing from the
upper part of the throat, arises from the tongue being
drawn upwards and backwards; or from the voice being
exercised too soon, and too vehemently on the higher
notes of the scale; in either case, the current of air pro-
ceeding from the lungs does not pass out freely through
the opening of the mouth, but is retained in the roof
or cavities thereof.

4) In low notes many persons violently press down
the larynx, so that the air passage, or windpipe sensibly
quivers, and produces what the Germans call Gurgelton.
Facility in low notes depends exclusively on the greater
diameter of the larynx. No one should try to sing them
if he cannot do so with ease, nor needlessly force the
available tones of his voice; otherwise harshness of voice,
and serious detriment to its metallic timbre, power and
firmness, will be the undesirable results. It is an equally
bad mistake to raise the larynx when singing high notes.

5) The closing up of the nostrils gives the voice a
peculiar tivang, called the Nasal sound; although the fault,
is not that we then sing through the nose, but that the
nasal exit for the voice is closed up.

6) To open the mouth too widely is another fault.
On the other hand the mouth should be well open and
freely open; just so much as to allow the index-finger,
or at most the thumb to fit between the two rows of teeth.

7) The use of the head voice (Falsetto) is very fa-
tiguing, and if continued for any length of time injures

the voice organs. The chest voice is the most natural,
and sufficiently extensive in its compass.

[OBSERVATION. The average compass of the voice
is two octaves, 15 notes, but in different parts of the
scale in different persons; neither are those 15 notes on
any one voice equal in quality or power. In the average
voices of men there is a middle or mean compass, of
about 8 notes, which come easily, and can be sung and
rolled out round and clear; above these follow closely the
high notes, which require a greater effort and more breath-
ing power, and sound sharp and shrill; under the middle
voice come the low notes which are deep and propor-
tionately toneless (klanglos), except with deep contralti and
bassi profondi. In men's voices we often meet with in-
stances, where when the voice has been raised to a cer-
tain height, at which it is felt that the production of tone
requires considerable effort, a change suddenly occurs;
and they can go on with less effort producing a new and
higher series of notes, of new and peculiar character.
This is called falsetto or head voice, in contradistinction
to the natural chest voice.

By these appellations however we are not to under-
stand that one kind of tone is produced in the chest and
the other in the head. Both kinds are produced by the
reed; the difference being that in the fuller notes of the
chest voice, the whole substance which bounds the slit
vibrates; while it is only the thinnest possible edge that
vibrates in the falsetto. These falsetto notes are very
unlike the chest notes either in power or quality, if un-
cultivated they sound wailing and effeminate, and it is
only by constant culture they can be brought to resemble
in strength or character the other tones of the voice, so
that the use of it is not to be encouraged. These different
stages of the compass of average voices are called Registers,
Chest, Middle, and Falsetto Register respectively; and great
attention should be paid to the producing of those notes
where the transition from one register of the voice to an-
other occurs, so as to render this transition as easy as pos-
sible and equalize the voice throughout its entire compass.]

8) The binding of two notes must be so accomplished,
that one can be clearly distinguished from the other, and

yet no gap or break appear between them. This is called
portando la voce. The immediate progression of several
notes presupposes a proportionate supply of breath. To
begin the sound gently, and then with increasing power
continue up to the degree of strength which can be at-
tained without unnatural effort, and on the return or
descending journey allow the voice gradually to cease
sounding, strengthens and consolidates the voice, and
endows it with the desirable facility of singing loud or
soft, piano or forte on each degree of its natural compass.

9) In singing two notes successively (especially if it
be a distant interval) according to the method so-called
of "Portamento di voce"] that bad habit of dwelling on
all or most of the intervening tones should be carefully
avoided. Affectation and vulgar mannerisms are easily
detected in this method of singing. Good singing demands
a certain mobility and elasticity of Tone, but this is
very different from the sliding or howling we have just
adverted to.

10) When the voice commences to change or crack,
(in boys) all attempts at singing must be laid aside for
a few months, and then only by degrees and cautiously
a few exercises in the new voice may be essayed,
until the organ of the voice gets strong and attains a
sufficient degree of firmness. "The old fashioned notion
that from Soprani come Bass voices, and from Alti,
Tenors, has already produced a multitude of harsh rough
Basses, and disagreeable Tenors." 1 )

[OBSERVATION. The voices of boys resemble very
nearly those of women, but in males a remarkable change
takes place at puberty, when the voice is said to crack.
The change from the shrill treble of the boy, to the fuller
and rounder tone of the man is sometimes perfected al-
most suddenly; but in most cases it is for sometime in

*) A. B. Marx. Die Musik des 19. Jahrhunderts.

progress, wavering between the two extremes, deep and
manly during quiet enunciation, but when any exertion
is used, suddenly starting up again to the shrill tones of
boyhood. This change occurs generally about the 16 th or
17 th year, sometimes earlier; and many are of opinion
that boys so affected should abstain from singing for two
or more years. Certain it is that the greatest precaution
should be adopted, if the voice is to be preserved.]

11) By continued exercise a very weak voice may be
strengthened, and a limited compass or uncertain intona-
tion be extended and secured. Easy and judicious vocal
exercises even if practised daily will not injure the voice
but build it up, and give flexibility, persistance and power.
"Men's throats are like fire-arms; they are good and
in use as long as they are kept polished; otherwise they
become rusty." l )

[12) With regard to the care of the voice, it may be
observed. 1 st . When singing. Any voice is improved by
moderate and well ordered energy, and weakened by ir-
regular singing, and too much forcing. You should never
sing so as to be completely fatigued. Those notes which
require an effort should be touched very seldom. One
should never sing when in a great heat, or after much
fatigue, nor immediately after eating, nor in an over-
heated or too cold apartment. Should the voice organs
be unhealthy, or suffering from inflammation, catarrh, or
cough &c; then the person so affected should not attempt
to sing. The same remark applies to boys when their
voices commence to change.

2 nd . When not singing. We should be always mode-
rate in eating and drinking; excess in the last mentioned
particular is very injurious to the voice; avoid fatty
meats, oily substances, all strong spirituous drinks, and
pungent spices. Too much snuff-taking leaves it toneless

*) Mattheson in his Patriot. Hamburgh 1728. Page 84.

and without resonance. The singer should be warmly
clothed, yet not overclad, and avoid great extremes of
temperature. Draughts of cold air, North and East winds
injuriously affect the voice. Playing wind instruments,
should be avoided. They tighten the chest, and rob the
voice of a great part of its power.]

CHAPTER 10 th . j

VOCALIZATION. — ARTICULATION.

[I. Take a tuning fork; make it vibrate by a gentle
tap; then press the end firmly against a table, against a
whole pane of glass, against a cracked pane, against a
book, in succession. Notice that the tone derives a dif-
ference in character from each of these substances which
it sets vibrating along with it. This experiment will suf-
fice to show that the quality, (or as it is technically
called the timbre) of the voice, is modified and varied
by every change in the shape, size, quality, and degree
ef elasticity of those parts which are connected with it,
and which vibrate along with it. So that we cannot
make any alteration whatever in the mouth or features
without producing some corresponding change in the
voice. 1 ) But pure tone must be formed in the larynx,
and not in the upper parts of the throat, as is too com-
monly done. To acquire purity and steadiness of tone,
vocalization is absolutely necessary, and constant exercise
in the same; i. e. sounding up and down the notes of
the diatonic scale, to each of the five vowels A E I U.
The first and most important exercise in vocalization is
to produce the vowel A clear and steady on each degree
of the scale. Stand upright, with the head held up in
an easy attitude; — fill the lungs; — let the jaw drop

x ) Of course the natural form or shape of the mouth will modify
the tone.

and the tongue lie as flat and motionless as possible.
Keep the lips away from the teeth, and the corners of
the mouth open. Then vocalize; i. e. sound the vowel A;
— (pronounced ah as in Father, charm, and such words).
The mouth should be moderately open, not too much so,
which would have the effect of throwing the tongue too
much forward, and thereby depriving the larynx of that
support to its muscles, which is naturally given by the
back of the tongue being held against it, and the tone
losing firmness, becomes cracked and tremulous. All the
notes of the scale should be sounded to this vowel, care
being taken to breathe after each note, and not to change
the posture of the body nor move the features, lips, or
jaws, in the least. The only parts that are to move, are
the edges of the vocal aperture, and other parts in the
larynx, which gradually become tighter and tighter, as
the sound rises in pitch. This exercise should be fre-
quently employed as it ensures the production of pure
tone. "By this open vowel," writes Herr Nauenburgh
u the position of the mouth and tongue is at once regu-
lated, the tone comes out instantaneously, without foreign
admixture, and strikes on the right place in the cavity
of the mouth." *) It is the most easily produced, and
the parent of all the other vowel sounds; the other
vowel sounds being produced in fact, by making the
mouth more narrow than it is whilst A is being uttered.
Then for the 2 nd vowel, bring the lips together into
a transverse slit, and let the tip of the tongue touch the
base of the under row of teeth, and you produce the
sound of E : — pronounced as a in baby, or fate. Go up
and down on this vowel, as when sounding A ; here again
being careful to preserve the positions of the mouth and
features once they are fixed. In Exercise N°. 3, you

x ) "Daily Sing-Studies for all Voices". Breitkopf & Härtel, Leipsic.

Magister Choralis. 4:

contract the transverse slit of the lips still more, and
let the tip of the tongue touch, no longer the base, but
the upper edge of the same under row of teeth, and you
produce I; pronounced as ee in Bee. This vowel in the
upper notes of the scale easily becomes shrill and
piercing (spitz). *)

For N° 4 you bring the mouth into a decided oval
shape, with the lips braced, resembling the shape of the
vowel itself 0; and you sound 0. Practice on the vowel 7
enriches the tone, and throws the voice forward. Lastly,
contract the aperture of the lips rather more, diminish
their tension by raising the lower jaw slightly, push them
forward and then open, and you have the 5 th vowel U,
sounded as double oo in goose.

OBSERVATION. We here give the simple vowel
sound. The english method of sounding this vowel, as
in you, is diphthongal, and may be divided, if sounded
slowly, into e-u. The simple sound as in soon, is much
preferable. In Latin it is universally adopted, (if we
except perhaps in France) and it will tend to eliminate
that vulgarity in pronunciation, with which our ears are
painfully familiarized.

In vocalizing therefore, A is the parent sound, most
naturally and most easily produced. E and I are found
by contracting the aperture of the mouth transversely:
and U, by contracting it circularly. In each of these
cases however there is one and the same sound produced
in the larynx; it only becomes altered in its passage out
of the mouth. This can be proved by sounding the five
vowels , one after the other , and without taking breath ;
which may be best done in the following order: I E A
U. In this experiment the throat remains unaltered

*) In sounding the lower notes to this vowel, more tone is pro-
cured by allowing: the tongue to assume a concave form like the hollow
of a spoon.

whilst the mouth changes its shape. When singing up or
down the scale to any one vowel, the mouth remains un-
altered, whilst the throat keeps moving, tightening or
relaxing according as we ascend or descend the scale. 1 )
Before quitting the subject of vowel sounds, it be-
comes most necessary to caution students at the outset
against the pernicious habit of aspirating vowels; i. e.
putting an h before them. Nothing can be more bar-
barous than when singing Amen to a group of notes, to
sing it as if it were written A-me-hen.

II. The sounds of articulate speech, are, as all must
know, divided into vowels, and consonants. Vowels are
the open sounds, and produced as we have just seen,
when the mouth is open more or less. Consonants are
produced by interrupting the vowel sounds, at some part
or other of their passage outwards. Voivel sounds there-
fore may be sustained as long as you like, as long as
your breath holds out ; consonants on the contrary, should
be pronounced decidedly and clearly, but as quickly as
possible. Therefore when singing, never dwell upon a
consonant; — sing the voivel, dwell on it, and bite it off,
as it were, with the consonant. It is only that tone
which proceeds straight outwards from the throat, which
is at all musical. Such is the tone of the vowels. Those
sounds, on the contrary, which are produced by closing
any part of the mouth, (as in the case of consonants,
which are mere interruptions to tone,) are unmusical.
They are hissings, or explosions, or vibrations of the
tongue, necessary enough to separate the vowels one
from another, but in themselves destitute of musical
quality, and most unpleasant to the ear. Therefore again,

*) Padre Martini Yol. 3. Page 432. quoting from Vossius sags "esser
vasta e sonora la vocale A, grave ed elegante VE, debole VI, vasta la
lettera , e con qualche ragione magnifica; le due vocali 1 e II si fanno
di per se stesse conoscere, oscure, e di suon bujo."

when singing any syllable to any note, and especially
any long note, single out the vowel, and sing on it. Let
the consonant be heard, by all means, at the beginning
or at the end as the case may be, but do not dwell on it.
Too often we hear the word Kyrie sung, as if it were
written Ky-ur-ri-e; and Miserere, as if it were Mi-se-re-
ir-re. Another bad habit is that of putting a consonant
where it does not exist, or where there is no need what-
ever for it. Thus we sometimes hear namavit, for amavit;
mmater for mater; nregi for regit, and more commonly
still, nor emus, or gnoremus for or emus. In a language
so rich in vowels as the Latin language, and thereby so
well adapted for singing, it is only increasing the diffi-
culties of the voice to be adding on consonants where
even orthography forbids them.

Again each word of the text must be clearly and
distinctly enunciated. No syllables should be glided over,
nor should final syllables be tacked on to the next word,
as for example, e tin scecula, for et in scecula; Kyrieleison,
for Kyrie eleison. Whenever there is a comma, observe
it; in other cases pronounce the final consonant clearly,
and make the slightest possible, almost an imperceptible
break in the tone, before the next vowel. For the third
time let it be stated; — Sing the voivel, let the con-
sonant just be heard. So that in the word Sanctus, the
first syllable of which is usually sung to a long note even
in modern music, let that first syllable be Sa- and the
second, -nctus; and not San-ctus, or still worse Sang-tus.

From the articulation of syllables to the articulation
of complete words or phrases of a sentence, the transi-
tion is not difficult. All that need be remembered is to
manage the breath well, to adapt the power of the voice
to the dimensions of the building in which it is to be
heard, and to utter the words distinctly. He is a good
speaker who declaims well, who has a distinct utterance,

speaking slowly and with a clear voice, distinguishing
the important from the less important passages of his
speech, and knowing when to raise or lower his voice,
so as to bring out the sense and meaning of his words
and phrases. We have said it already, at least in equi-
valent terms; — that Word and Tone are related. The
Word puts meaning into the Tone, and the Tone throws
ivarmth and life into the Word. Music is the language
of the feelings, as ivords are the language of the under-
standing^

CHAPTER 11 th .
PRONUNCIATION (of Latin). — ACCENTUATION.

I. The Latin language has the vowels a, e, i, o, u (v),
(y); and the Diphtongs ce, ce, a%i and eu. A has always
the one sound Pater, as a in the English word father.
E is pronounced as a in gate or say when before a, i, o
and u; before consonants in general as e in met. I and
Y are pronounced as ee in seen. as o in no, and U
under all circumstances , and in all cases, as oo in goose.
The vowel y is taken from the Greek alphabet and found
in such words as Kyrie, hyssopo, Babylon, butyrum, coe-
nomyia and sounded as I. The Diphthongs & and oe, as
in sce-cu-lum, coe-lum, are pronounced as the vowel E
itself, i. e. as a in the English word say. The Diphthong
eu is only met with in the words heu, elieu, ceu, seu, neu,
neuter and neutiquam, and in the Greek words Eu-ge and
Euphrates, and is to be sounded as a Diphthong. But
in all other words where these vowels come together as
De-us, me-us, re-us, o-le-um fer-re-us, the two vowels are
sounded apart.

JEi is a Diphthong in the word hei, in all other
words, the vowels are sounded separately, therefore ele-
ison, de-inde, de-itas, di-e-i.

Vi is a dissyllable in huic and cui, in which the
stress is laid on the first vowel and the second slurred.
They should never be pronounced as the English words
pike or sky. Those vowels are separate in Spi-ri-tu-i,
ge-nu-i, vb-lu-i etc.

Au is always a Diphthong, and to be pronounced as
ou in the English word house. Sometimes when the vowels
should be sounded separately, this is indicated by two
little dots placed over the last vowel, called puncta dia-
reseos, which distinguish them from other words of iden-
tical spelling; thus aer, aeris (to distinguish it from aeris).
V, v in early Latin is often written for V\ as in vnvm for
unum; and is then pronounced of course as the vowel V:
but when used as a consonant in such words as Veritas,
vox, silva etc. it is pronounced as our English v in voice.

The Consonants are b, c, d, f, g, h, (k,) 1, m, n, 1 )
p, q, r, s, t, x, (z); and for them the general rule is:
Pronounce them as they are pronounced in English. The
exceptions are 1 st with regard to the letter c. 2 ) C before
e, i, y, ce, oe and eu, should be pronounced as ch in
cheese or child; before other vowels and all consonants
as k. Therefore the words ce-drus, ci-ha-vit, Cy-re-ne,

') These are three consonants (I, m, n) that singers have most
reason to be careful of; for there is a great tendency to prolong them,
and if so the vowel is sacrificed, and the tone infallibly becomes nasal.

2 ) [We prefer adopting the Italian pronunciation of the Latin for
many reasons ; 1 st because it is the pronunciation adopted at the foun-
tain head, Eome; 2 ud because it is spreading very rapidly, and in Eng-
land and the United States is all but universal; lastly, because it is
more musical. The soft c before e and i, is decidedly better adapted
for vocalization than the hissing consonant s into which c is converted
in countries outside of Italy. The Germans affect a compromise and
pronounce the c as a German z, e. g. zedrus, zibavit. However the
rules laid down here for the pronunciation of this letter, whether in
its simple form or in composition, need not be adhered to by those
accustomed to another pronunciation, except in so far as they may
wish to promote uniformity. But we would be anxious to insist on
the Italian pronunciation of U in all cases, and without exception,
for it is a matter of the greatest importance in singing Latin.]

cce-sus, coß-lum, ceu, should be sounded as if written
tsche-drus, tschi-ba-vit etc. When however c comes be-
fore h itself, it is pronounced as Jc, e. g. chirotheca will
be kirotheca. Sc before the same vowels is sounded as
sli in should; thus descendit, read as if deshendit. Sch
is to be separated: Pas-cha, s-chola. Xc, before e, i,
y, etc. is as gsh in egg-shell: thus excelsis, should be
pronounced as if written eggshelsis. Double cc, before
the vowels mentioned is pronounced as tc 1 e. g. JEcce,
pronounced Msclie. The 2 nd exception is with regard to
the letter j, when used as a consonant in the words
Juda, Jerusalem, jam, juxta etc. it is to be pronounced
as y in the word you; or indeed we may say it is still
to be considered as the same vowel i, only written in
that lengthened form j before another vowel and when
commencing a syllable. Therefore the words shall be
Yuda, Yerusalem, Yesus etc. G is always soft before e
and i as ge-nu-i. K is usually sounded as hard c. X and
Z are double consonants, and to be treated as cs and ds.
Z occurs only in foreign words.

When a vowel follows the syllable ti, this syllable
is to be pronounced as if d, e. g. o-ti-um, gra-ti-as, ju-
sti-ti-a, are equal to, o-si-um, gra-zi(dsi)-as, yu-sti-zi-a.
Except from this rule foreign names such as Aegypti-i,
and when another t, s or x comes immediately before
this syllable; therefore, ostium, mixtio, Qu, gu and su,
are sounded as to, gw and sw, when they form one syl-
lable with the following vowel; thus, quan-do, san-guis,
.sua-vis; but when they form a distinct syllable as in su-
um, they are pronounced according to the rules already
given. Sequutus and loquutus, are but different ways of
writing secutus and locutus, and are to be sounded ac-
cordingly.

When two vowels come together, one at the end of
a word, and the other commencing the following word,

.56

we meet with the so-called Hiatus, or break In Poetry,
the rule is, elide the first vowel. In the Christmas Hymn
for instance, Jesu Bedemptor, whether reading or singing
it, we must say, antoriginem, and not ante originem.
In the official edition of the Vesper al, this is indicated
by the sign ^ placed where the hiatus occurs. In the
Directorium cliori (same edition) page [42], mille^ange-
lorum = millangelorum , or supernce^et = supemet. In
Prose however the rule laid clown in the preceding chapter
holds good; i. e. the final syllables of words must never
be absorbed into the first syllable of the next word.
Consequently it will be Kyrie e-le-i-son, and not Kyrie-
leison. 1 ) Double vowels in the middle or beginning of
words are to be uttered separately, thus de-esse, e-le-e-
mosyna, au-di-it, A-aron.

The division of words into their constituent syllables
is sufficiently indicated in the new liturgical books by
hyphens placed between each syllable. However a few
leading rules may be here given for general use: 1 st . A
consonant coming between two vowels, belongs to the
latter vowel, as pa-ter, lau-do. 2 nd . Consonants which
commence a Latin or Greek word together, remain
together when forming the inner syllable of a word; e. g.
pa-tris, e-sca, i-gnis, o-mnis, scri-ptus, pa-stor, ho-spes;
on the other hand man-da-vit, San-ctus (although in
singing the n must not be allowed to interfere with the a)
red-em-ptio. Double consonants are pronounced separate-
ly; e. g. pos-ses-si-o-nem. Compound words are divided
into their component parts, sus-ce-pit, tam-quam.

II. The production of pure tone by vocalization, the
correct articulation of vowels and consonants, and their

*) [This insufficient pronunciation of the word is unfortunately
very common. Also the le-i, is made one syllable and pronounced
as the English lie, which is wrong; the e and i should be sounded
separately.]

real power or sound, may be called the elements of song;
now we come to speak of the manner in which these ele-
ments should be put together to constitute good singing.
In words of more than two syllables, the official Edition
of the Eitual Books marks the accented syllable with a
little stroke, thus, re-di-me. So that we need only give
rules for monosyllables, and dissyllables. Monosyllables
are always accented. In dissyllables the accent falls
(unless otherwise marked) on the first syllable; thus:
md-ter, hd-mo. Hebrew names such as Sion, Jacob, etc.
have the accent on the last syllable; and this is the
reason why in the mediation of the Psalms, as we shall
afterwards see, the voice is inflected upwards, as with
monosyllables.

A complete dissertation on long and short syllables,,
their relations to each other in composition, and the
difference between Quantity and Accent, would be out
of place here. As a general rule however, it may be
stated, that the syllable, which immediately follows an
I accented syllable, is shorter than the syllable next com-
ing on. Thus in the word M-mi-nes; ho is accented, mi
is short, nes not quite so short. A vowel followed im-
mediately by another vowel, is, as a rule, short; e. g.
proprio, omnia. In the Recitation of Psalms, Lessons,
Prseyers &c. we should carefully distinguish the reading
from the musical accent. In reading, all the rules for
pronunciation, and accentuation should be faithfully ad-
hered to. In singing, the voice must give still greater
emphasis to the accented syllable, and the other syllables
should follow humbly and quietly in its train. A strong
accentuation of the syllable mi in hominibus, demands
preparatory voice power on the preceeding syllable ho;
and ni and bus fall in respectively as weaker and less
weak echoes. The accents of words of many syllables,
take precedence of dissyllabic accents, and serve as it

were the purpose of distance posts in the recitation. Even
in English a continuous succession of monosyllables and
dissyllables becomes tiresome. Let the text of the Credo
serve as an example, where the weightest accents are laid
on the syllables Pa, ten, cto, Fi, ge etc. He who reads
and accentuates well, and is gifted with a good voice
and sufficient technical knowledge, must sing Gregorian
effectively.

CHAPTER 12 th . j

EXERCISES.

Striking the note, means good Intonation; 1 ) that is
to say a facility of hitting the exact note of the scale
you wish to sing, decidedly, in tune, and without any
preparatory sliding up to it. The "good attack" as M. Fetis
calls it; or "that vigorous shock of the glottis", as Garcia
describes it, should become a habit of the singer. The
voice should always have a bold decided opening, as well
as a distinct close. Each note should be like a newly
cut coin. Nothing can be more injurious to the good
effect of singing than an uncertain, timid, groping for the
note; or sliding up to a distant interval, and then only
reaching it with exhausted breath, and out of tune. In-
tonation must be decided, and true. For this purpose
regulate the pitch of the voice, according to the compass
of the music to be sung. Choose neither too high nor
too low a tone to commence with, but one that lies se-
curely in the middle register of the voice. When a long
recitation must be sung to the one note, let the pitch
be a medium pitch, for if high, the voice becomes dis-
agreeably shrill and strident, if low, inaudible.

An ear for music may be acquired or a defective
ear considerably improved, by industrious practice of the

*) Tinctoris in his "Definitorium" writes: "Intonatio est debita
.cantus inchoatio."

simpler intervals, and with the assistance of an instru-
ment, (Violin better than Pianoforte).

We are said to sing flat when the voice falls a little
from the true tone of the note; sharp when the voice is
somewhat higher than the note to be sung; and incor-
rectly when we strike a different note altogether from
the one indicated.

The following exercises in the different intervals of
the scale, may be practised on the vowel sounds, on the
letters of the alphabet, on the syllables of Guido, or on
words, (on words in order to acquire the correct accent)
and should be repeated again and again, until the student
acquires steadiness and purity of intonation. 1 )

1. 2.

1*-»- * ! » u * } |^H-W-»f * w , m [>-^-^-M|

II.

1. 2.

De -us, so-lum, vir-go, ma-ter. Do-mi-nus, glo-ri-a, di-li-git, sol-ve-ris,

fi-li-us, hö -mi -num. Ma-ri - a, in-ten-dit, re-gi-na, redemptor.

III.

1. 2. 3.

Agnus, Si -on. Red-e-mit, termi-nus, ae-ter-num.

Laudämus te, be-ne-di-ci-mus te, ad -o- ramus te, glo-ri- fi-camus te.

*) Quintilian says : "Phonascis et oratoribas, necessaria est eocercitatio
qua omnia tconvalescunt."

1. IT * 2.

u-ni-ge-ni- te Je-su,
mi -se- re -re no -bis, depre-ca-ti - ö-nem nostram, sa-lu-tä-re tu -urn.

i. v -

No-ster, clemens, vi-vit, regnas, po-tens,

semper. E-go sumpa-stor bonus, ad portas pa-ra-di-si

co-ro-na-vit e-um. Gon-fi - te - or De - o o-mni-po - ten-ti. 1$. Amen.

VI.

c vi-ta a-ve, semper Virgo

canunt De-o. Tradent enim vos in conci-li-is su-is, et fla-gel-lä-bunt vos.

-\-

1. . VI1 - 2.

4. Tritonus. Perfect fourth.

fa sol la si, fa si, fa sol la sa, fa sa
5.

Tritonus. Perfect fourth.

si la sol fa , si fa , sa la sol fa , sa fa.

VIII.

Le-cti - o sancti Augu-sti - ni
E- pi-sco-pi su-per Psalmos. Tu au-tem Do-mi-ne mi -se- re -re

W— H — M

W=W:

no - bis. 1$. De - o grä - ti - as. Fa - eta est cum An-ge - lo.

IX.

1. 2.

Sancti per fi-dem vi-ce-runt regna.
S.

Adhse-sit ä - ni-ma me - a.
4.

Grä-ti - as a-gens be-ne-di-xit Do-mi-num. O-ri- e-tur in di - 6- bus

■-T-B-

: 1 ;

^-^ =^m-T

:^=S=M=q-3ecW= H=5=Jf

-«■-

Do-mi-ni ab-undan-ti - a pa-cis et do-mi-nä-bi-tur. Hö-di-e
in ter-ra ca-nunt Ange - li, ho-di - e exsül-tant ju-sti. Alle-lü-ja.

defgabedebagfed

$$EE^E+E*EE±

je*

re mi /a sol la si ut re ut si la sol fa mi re

Be - ä - tus vir, qui ti-met Dö-mi-num, be-ne - di - ce - tur.

t^rJd

fc±

1rt*-r5

*—i

Be - ä-tus vir, qui timet Dominum , be-ne-di - ce-tur.

aba

XI. Seconds.

beb ede de

^^.-zH

Za si Z« si %£ si %£ re m£ re mi re mi fa mi

Gilo - ri - a, Ky-ri - e, im-pi - us, vo-liin-tas, Dö-mi-nus,
f g f g a g abc bed cde

*F*

/a soZ /« soZ Z« soZ Za si ut si ut re ut re mi

vin-cu - la, be - ä - tus , sse - cu-lum, fer-re - us, Do-mi-nus ,
d e f e f g f g a g a bjz a b c

re mi fa mi fa sol fa sol la sol la sa la si ut

ha - be-mus , si - de - ra, lau-da - te , 16-que-re, Ga-bri-el,

bed

ij^W=±

f g a

~H — >H-

b c d e

si «£ re si w£ re mi /a soZ Za

An-ge-lus. Di - li-gam te Dö-mi-ne

si ut re mi

in se - ternum.

XII. Thirds.

efge fgaf gfegabca. bagb

mi fa sol mi fa sol la fa sol fa mi sol la si ut la si la sol si
Mi-se-ricors, miserä-tor, mul-ti-tu-do, in-i-quitas, of-fe-rämus,.

cdec debd cbac

W=ft

b c d b

a c

S^^^^^^^z^

ut> re mi ut re ut si re ut si la ut si ut re si la ut

sempiterna, po-tenti-a, il-lümi-na, morta-li-a. Sal-ve,

b g

"I"

g e d

e c d

si sol fa la sol mi re fa mi ut re ut la

sancta , pa - reus, De - us , po - tens, cle-mens. Sal -vä - tor,,

c d f e d

beIeIe^

f g a

3==

ut re fa mi re mi

ful-gu - ris , o-mni - a.

§§

b c d e f

bag

/« soZ ?« si «£ re mi /a

Ex-au - di De - us o - ra - ti-

1=V

mi re ut si la sol

6-neni me -am, in- ten

fa mi re ut.

de Dö-mi-ne.

XIII. Fourths.

d e f g d

f g a

w£ re mi fa ut re mi fa sol re mi fa sol la mi

Mul- ti - tu - di-nem, sa- cri - fi - ci - um, contemplä - ti - o,

gab

;3=^

fgab|?fabcda

sol la si ut sol fa sol la sa fa la si ut re la

re-mi- ni-sce-re, be-ne- di-cti - o, be-ne-pla-ci-tum,
bcdeb cdefc cfe

feEpEE!fEg^EEEEp5E=^

si ut re mi si ut re mi fa ut

so - le-mni- tä - te , vir - tu - te magna.

ut fa mi
In-ten-de,

d g f

a g

RES

if-

b|2 a

b£

re sol fa mi la sol fa sa la
16- qui - tur , vo - la - vit , a - scen-dit ,

a d

e d

c f e d a c

sol ut sa

conspe-ctus,
b? f a

la re ut si mi re ut fa mi re la ut sa fa la

o- de -runt, a-mi-cus, gra-ti- as, de -bi- turn, in-no-cens.

g d f

sol re fa mi ut fa
te - ne-brae, Cre - ä - tor.

b a

gab

le^eeIee^

d e f

sol fa mi re ut si la
lu - it fe - cit in coe - lo

sol la si ut re mi fa
O-mni-a qusecümque vo-

fed

sol fa mi re.

et in ter-ra.

$=¥

XIV. Fifths, and mixed Intervals.

f ga dcdefg c efgabe

*=*:

re mi /<z sol la re ut re mi fa sol ut mi fa sol la si mi

Mi - se - ri - cor-di - am, in - si - pi - en-ti - am, adversi-ta-ti-bus,
fgabcf gabcdg abcdea

*=*:

*=*

«=*:

:W=i:

=^^^0

fa sol la si ut fa sol la si ut re sol la si ut re mi la

co- gi-ta - ti - o-nes , be-ne-di-cti- 6-nem, suppli-ca-ti - 6-nes.

d ab

re la si

A- ve.

dab|? a aga d da a c a gf

relasa la

Sal - ve.

la sol la re

I - te.

rela la ut la sol fa

Tu - ba in - so - net.

g g gd e f fa a g g cd dab a

feu

^^EEEEE^EE^E^EE^^

so£ so? soZre mi /a /«Zß £a so?

A - li - as o - ves ha - be - o.

sol utre relasa la

Ut au - di - vit.

OBSERVATION. The best exercises for ear -im-
provement, recitation, pronunciation, and intervals, are
as experience teaches, the Psalm-Tones; then, for be-
ginners, the Anthems of the B. V. for the four seasons,
as in the Directorium Chori, then the Chants of the

Mass, (especially the Credo) in the Ordinarium Missce,
and Graduate JRomanum.

Here we subjoin a setting of all the Intervals ac-
cording to a quaint old form. 1 )

-M ■ * c

fcdfc

Ter ter-ni sunt mo-di, qui -bus omnis can-ti-le-na

From 3 X 3 (9 without unison) Intervals is every song

i =M =g^^E^^g j^gzg Efe ^z^zg

con-te - xi - tur , sei - li - cet : U - ui - so-uus , Se- mi - to-ni - urn,

constructed, namely: Unison, minor second^ 1 2 Ton),

^^^^^^^^^^E=^^^^^^E^

^To-nus, Se-mi-di-to-nus, Di-to-uus, Di - a-tessa-ron,

fulltone, minor Third, major Third, Fourth,

Di-a-pen-te, Se-mi-tö-ni-um cum di-a-pente, To-uus cum

Fifth, minor Sixth, major

— :j— * H-| 1— ■-

di-a-pen-te, ad hsec mo-dus di-a-pa-son. Si quern

Sixth, then the Octave. Who wishes

de-le-ctat can-tus hos mo -dos es-se cog-no-scat.

to enjoy song, must know these intervals.

*) In Coussemacker, Script. Tom. III. pag. 425; also in 1 st and 3 d
vol. several similar combinations are found. The example here given
is also found in Glarean and Gerbert.

2 ) In Coussemacker the following sentence is also put to music in
different Intervals. "Cumque tarn paucis clansulis tota armonia for-
metur, utilissimum est, eas alte memorise commendare, nee prius ab
hujusmodi studio quiescere, donee vocum intervallis agnitis harmonia
totius facillime queat comprehendere notitiam." In other words "prac-
tise a little, zealously and continuously, and you will learn to strike
the notes securely."

Magister Choralis. 5

PART II.
PLAIN-CHANT.

SECTIO THEORETICA.

CHAPTER 13 th .
THE CHURCH MODES OR TONES.

If the sounds of any of the seven diatonic scales
are divided into fifths and fourths, — pentachords and
tetrachords, — and are so disposed as to form a melody
or musical phrase, bearing a fixed relation to one prin-
cipal or fundamental sound; the melody so constructed
is said to be in a Church Mode or Tone. 1 )

OBSERVATION. It cannot be too frequently or too
clearly stated that there is a wide essential difference
between the Church Modes or Gamuts, and the so-called
Keys of modern music. In the seven scales of the Dia-
tonic genus, the order of the tones and semitones, changes
according to the first sound of the series; whereas in
modern music, the different keys, major or minor, are
but transpositions of the same progression of sounds,
into a higher or lower pitch.

The Key therefore only changes the pitch of the
scale so that all major scales are but transpositions of
the scale of c, and all minor scales, transpositions of
the scale of a. The proper Latin denomination for a
Church Mode is modus, in contradistinction to tonus
which indicates certain fixed forms of the mode. Guido
blames the misapplication of tonus instead of modus,
which at his time were frequently interchanged. Later

*) Ugolinus of Orvieto in the 15 th century writes: "Tropus, tonus
sive modus est quamplurium vocum ex diapente ac diatessaron ordinatis
speciebus debite conjunctarum in acumine et gravitate distantium per arsin
et thesin congrua neumarum forma constitutarum conveniens disjiositio."

on the Theorists of mensural music changed the signifi-
cations, so that Tinctoris (in the 15 th century) defines
modus as the "measure of a melody", and tonus the scale
on which the melody is composed. Toni are, if taken
in their exact meaning, the proper denomination for the
eight fixed forms for chanting the Psalms, Gloria Patri etc.,
and modi for the scales of the other Choral Chants. They
are called Church Modes or Church Tones to distinguish
them from the modern major and minor keys which from
the 17 th century through the employment of chromatic
semitones were in the commencement employed princi-
pally for secular music.

According to the position of the semitone in each
particular scale we must distinguish four species of fifths
and three species of fourths, as shown in this table:

I. Fifths.

E^F Gab

mi fa sol la si

D E^F G a

re mi fa sol la

a b^c d e
la si do re mi

r A B^C D

G a b^c d

sol la si do re

C D E^F G
c d e^f g

do re mi fa sol

F G a^bb c
fa sol la sa do

F G a b^c

fa sol la si do

> 1. Species.

2. Species.

3. Species.

> 4. Species.

II. Fourths.

B^C D E

b^c d e

si do re mi

E F G a

e ^ f g cä
mi fa sol la

D E^F G

d e ^ f g

re mi fa sol

A B^C D

a b^c d

la si do re

r A B^C

G a b^c

sol la si do

C D E^F

c d e^f

do re mi fa

F G a^bt?

fa sol la sa

1. Species.

2. Species.

3. Species.

The most ancient musical theorists speak of eight
modes only, which were constructed on the sounds re-
presented by D, E, F, G; and so constructed that each
scale had two methods of progression. 1 st . The scales
beginning with D, E, F, Gr and proceeding by a fifth,
and then a fourth. These were called authentic, 1 ) and
marked with the Greek words Protos (first), Deuteros
(second), Tritos (third), Tetartos (fourth). 2 nd . Should the
upper Fourth in these scales be placed under the Fifth
instead of above it, then the compass is altered; the
fundamental note of the authentic mode becomes the
fourth in a new scale, and the scale thus formed is
styled plagal, 2 ) also lateralis, subjugalis, or subordinate
scale. Hence the denominations modus protus authentus
for the first, and modus protus subjugalis (also plagius
and plag alls) for the Mode called later on the second.

From this we may construct a synopsis of the eight
Modes in the following manner: The protus furnishes
the notes for the second, the deuterus (now called third),
for the fourth, the tritus (now fifth), for the sixth, and
the tetartus (now seventh), for the eighth Mode.

Synopsis of the eight Modes.

I. Modus authenticus. II. Modus plagalis.

DEFGa abed ABCD D E F G a

Fifth. Fourth. Fourth. Fifth.

III. Modus authent. IV. Modus plagalis.

E F G a b bede BCDE E F G a b

^^^ fEj^^^cP^^^P

,n tr*-- — i— — — 'J-— — k^w— = — 1—^_ -u-i

' Fifth. Fourth. Fourth. Fifth.

*) uv&eyiiiSj genuine, original.

2 ) nkctyiog, derived, i. e. deduced from the authentic.

V. Modus authent.
F G a b c cdef

-m-

i£n

VI. Modus plagalis.

CDEF F G a b

Fifth. Fourth.

VII Modus authent.
G a b c d def

Fourth.

3£

Fifth.

VIII. Modus plagalis.
DEFG G a b c d

Fifth.

Fourth.

Fifth.

After the 12 th century, we first discover a desire in
the interest of Polyphonic Chant to adopt the Greek
Tone-system, which also admitted scales constructed on
the other notes of the scale with the exception of b.
Glarean (Henry Loritus from Glarus) was the first to
teach the complete series in his work the "Dodekachor-
don" , compiled in 1547, and the Theorists who came
lifter him accepting his views, 1 ) four new scales or modes
were established:

IX. Modus authent.
abcde e f g a

^=i=pcr»-*

-H-

X. Modus plagalis.

E F G a abcde

*3fc

s=*

Fifth. Fourth.

XL Modus authent.
cdefg g a b c

Fourth.

Fifth.

^=*=*=*

XII. Modus plagalis.

Gabc cdefg

*3(

Fifth.

Fourth.

Fifth.

*) Ambros, Musikgeschichte vol. II. p. 51, remarks upon the logical
•development of the new modes. "The second, fourth and sixth (erro-
neously printed fifth) Church Modes have a twofold character. All
three are plagal derived from their corresponding authentic modes,
but according to the position of their two semitones they may be
regarded as independent modes and form as it were three new authentic
.scales, wherein the first note becomes the foundation of the scale, and
thus avoid all dependency and it then becomes possible to derive
l from them three new plagal Tones."

On closer inspection it will be seen that this newly
constructed 9 th Mode, passes the ordinary compass (g, in
the third octave) of Gregorian Chant, hence it is seldom
to be met with; but the 10 th Mode frequently occurs. So
also the 11 th Mode, but transposed an octave lower, thus

l )

re mi fa
Fifth.

sol

sol la si
Fourth.

CHAPTER 14 th .
NAMES & CLASSIFICATION OF THE CHURCH MODES.

I. The eight (12) Church Modes, as explained in the
foregoing chapter, are divided into two classes, authentic
and plagal Numerically arranged they are called primus,
secundus, tertius, quartus, etc., i. e. first, second, third,
fourth. The supperaddecl Grecian names which were uni-
versally adopted before Glarean's time, are for the series
of twelve Modes as follows:

MODI AÜTHENTICI

MODI PLAGALES

Dorms

D-a-d

Hypodorius 2 )

A-D-a

III

Phrygius

E-b-e

Hypophrygius

B-E-b

Lydius

F-c-f

Hypolydius

C-F-c

VII

Mixolydius

G-d-g

VIH

Hypomixdlydius

D-g-d

Aeolius

a-e-a

Hypoceolius

E-a-e

Jonicus

c-g-c

XII

Hypojonicus 3 )

G-c-g

*) An XI. and XII. mode were attempted to be formed on si-fa-si T
and plagally Fa-si-fa, but the Tritone Fa- si and the diminished fifth
si -fa rendered these modes useless and they were put aside. Theo-
retically however they were numbered as 11 th and 12 th , and then the
modes erected on c were counted as 13 th and 14 th . The title of Gla-
rean's Book "Dodekachordon", or "twelve strings", shows that he
only acknowledged twelve scales built up on six foundation notes.

a ) vno denotes the transposition of the fourth, which in plagal
modes comes under the fifth.

3 ) To the unharmonic note on b natural, Glarean gives the name
hyperceolius for (si-fa-si) and hyperphrygius for (fa-si-fa).

IT. On comparing the authentic with the plagal, (by
looking at the synopsis already given) we find the follow-
ing differences.

1) The authentic have the fifth below, and the fourth
above. In the Plagal modes the fourth is below, and
the fifth above. Both fourths and fifths are alike in each
pair of modes, but their relative position different.

2) The authentic mode and its corresponding plagal
together have a compass (ambitus) or range of eleven notes,
of which five are common to both, and three not common.

I. Modus authenticus: D, E, F, G, a, b, c, d.

II. Modus plagalis: A, B, C, D, E, F, G-, a.

3) The first note of each authentic mode is the fun-
damental of it and of its corresponding plagal; 1 ) (tonus
fundamentalis) , or Tonica, because the melody is built
up and constructed upon it. It is also, and more com-
monly called the Final, finalis, because every authentic
and plagal melody when regular, ends with it. The Finals
therefore, as we shall call them, or fundamental notes of
each tone, are as follows:

i & ii. in & iv. v & vi. vii & vni. ix & x.

3EJ

Jl:

D, re,

E, mi,

F, fa,

G, sol, a, la,

XI & XII (XIII & XIV).

c, do.

4) A tone is said to be regular (regularise when the
phrase or melody closes with its regular final; if it end
on any other note it is called irregular, (Irregularis).

x ) The first note of a Gregorian melody is mostly different from
the final note. Here by first note we mean the first note of the mode
on which the melody is formed.

These irregular finals are also called Confinal notes,
and are often met with in the endings of Psalm tones,
and in the divisions or sections of Responsories, Graduals
and Tracts.

5) The range or compass (ambitus) of the existing
melodies taken in conjunction with the range laid down
theoretically for the scales of the different modes, gives
rise with the mediaeval Theorists to another classification.

The Tone for instance is called:

1. Perfect, Tonus perfectus, if, in authentic modes,
the melody ranges to the octave: or — in plagal modes,
to the fifth above and the fourth below the final. Ex-
amples: the Communio "JEcce Virgo", page 11; Introit
" Miser ebitur", p. 427; Offertorium u Benedictus es", p. 72
of the Octavo official edition of the Graduate Bomanum
(Ratisbon 1870). Here the rule is borne out: "Omnis
cantilence legalis ascensus et descensus per diapason con-
struitur" *)

2. Imperfect, Tonus imperfectus, when in authentic
tones, the octave from the final is not reached, or in
plagal tones the fourth below the final. Many of the
Antiphons of the canonical hours, the Lamentations of
Holy Week (VI. Toni), and several smaller forms of
chant, such as the Intonations of the Psalms, (which how-
ever, are completed by the Antiphon to which they are
united), belong to this class.

3. More than perfect, or superfluous (Tonus plusguam-
perfectus or super abundans) , when the authentic mode
contains a note beloiv its final, or above its octave; or
when the plagal mode ranges downwards more than a
fourth from its final.

4. Mixed (Tonus mixtus), when the natural range
(ambitus) of a mode, is exceeded by more than one note,

x ) Grerbert, Script. Tom. II. p. 58.

so that the authentic and its corresponding plagal may
be said to run into one another. Of this we have examples
in the Te Deum, in the Sequences Lauda Sion, Dies tree,
Veni sancte Spiritus de. By Tonus eommixtus we under-
stand those chants which pass into a remote mode, e. g.
from the V th to the VII th , or from the I st to the IV th .

5. The Tone is called communis perfectus, if the
authentic tone ranges to the fourth below the final (and
thereby becomes plagal) or the plagal to the octave above
the final (and so becomes authentic). The melody, then,
comprises the eleven notes of the authentic and its plagal
united. We have an example of this in the Easter Se-
quence Victimce Paschali, page 232, and in the Anti-
phon Cum appropinquaret for the Procession of Palm-
Sunday, page 172. *)

I CHAPTER 15 th .

SIGNS OF THE TONES.

In order to know to which Tone any given Chant
belongs, certain signs or marks are necessary. The surest
and most general sign is the final. The next charac-
teristic mark to determine the Tone will be its range,
(ambitus). This shows to what scale the melody belongs,
whether such scale be fully or only partially employed;
and serves also to mark the difference between perfect
and imperfect Tones. (See preceding Chapter.) The
third mark or sign to indicate the Tone of a Gregorian
melody, is the Dominant, z ) also called the Tenor. In the

*) These few words fairly convey the contents of the theoretical
works of the middle ages published by Gerbert and Coussemacker,
and in a condensed form by P. Utto Kornmüller in the K.-M. Jahrbuch
1886—1889, given in chronological order. It must be observed how-
ever that all these theories do not serve as a guide for the composition
of Gregorian chants, but are only inferred from chants already in use.

2 ) The student must be careful to distinguish between the Domi-
nant in Gregorian; and the Dominant in modern music which is ai-
rways a 5 th above the tonic. In* Gregorian it varies.

annexed Table the Finals and Dominants of the 12 (14)

Tones are shown together.

Toni.

Final.

Domin.

Toni.

Final.

Domin.

VIII

III

(XIII) XI

(XIV) XII

e 1

To distinguish therefore the plagal from the authen-
tic tone; — as both have the same final; — we must see
if the melody ranges downwards more than one note
below the final; and observe which note may be the
Dominant, i. e. on which note is the body of the words
sung or recited. In more florid compositions this will
be less apparent, but it will be always found that in
singing in any particular mode, the voice always has a
tendency to attach itself to the Dominant.

Finals and Dominants one with another give what
is called the Repercussion, i. e. the Interval which in each
Tone repeats itself. According to the Table given above,
the Repercussion in each Tone, is:

Toni. Kepercuss.

Toni.

Eepercuss.

Toni.

Eepercuss.

I
II
III
IV

re — la
re— fa
mi — do

mi — la

VII

VIII

fa — do
fa — la

sol — re
sol — do

XII

la — mi
la — do
do — sol
do — mi

Again, in the authentic Tones the melody goes evenly
to the Final; in the plagal tones oftentimes by skips.
Should the fifth be specially remarkable over the Final,
the Mode is to be considered authentic.

Lastly, each Tone has certain notes or note-group-
ings, with which the chant usually begins ; and as a Rule,
it may be observed, that in authentic Tones the Chant
never begins with a Tone distant from the final by
a fifth, or in plagals by a fourth. In the construction
of the middle cadences, (sections of the musical compo-
sition indicated with punctuation marks , ; : &c.) the
rule is observed, to make them, in authentic tones, on
the final, the fifth, or intermediate notes, and in plagals,
never to go beyond the fourth For the eight Church
Tones most in use, we may enumerate the regular 1 )
initial notes or Intonations, as follows:

Ton. L: C, B, F, G (E, a). Ton. V.: F, G, a, c.

Ton. II: A, C, B, E. Ton. VI: C (B, E), F (a).

Ton. Ill: E, F, G, a (c). Ton. VII: G, l\, c, d.

Ton. IV.: C, D, E, F, G, a. Ton. VIII.: C, B, F, G, a, c

For all practical purposes, singers of Gregorian Chant
have but to glance at the book and the number of the
Tone will be found printed in all the new editions.

CHAPTER 16 th .
NATURE AND CHARACTERISTICS OF THE I st , 2 d , 3 d

AND 4 th TONES.

There is one fundamental law in Gregorian Chant
which must be observed in all the Tones, to wit: "The
immediate progression by an augmented fourth (Tritonus)
or a diminished fifth is not allowable in Gregorian, and

*) It is a peculiarity and an intentional innovation in the Chants
of the editio mediccea (1614) that all melodies in authentic modes begin
with the final. Also most of those in plagal modes begin with the
final, only those of the second Mode begin mostly with A, the first
note of the scale. In the chants composed subsequently for most
recent Feasts this custom is not so generally observed. In the Anti-
phons of the Antiphonarium Romanum the opening notes regulate the
final cadences of the Psalms which follow as for example if an Anti-
phon in the 8 th mode begins with do, that is a sign that the second
* final of the 8 th mode should be employed in the Psalm.

such Intervals when met with must be made perfect, by
placing a J? before the si'" and so depressing it a semitone.

The scale or gamut of the 1 st Tone, (doric) may pro-
ceed from its final to an octave ascending, and a major
second descending; it seldom ascends to e, but descends
to C. B flat must be used whenever the Tritone is to
be avoided, or when the melody does not go above si]
Example: The Ite Missa est on Semidoubles (See JDire-
ctorimn chori page 78*) and the Communio Ecce vir go
(Grad. Bom. page 11).

The phrase D-a-b\>-a, recurs times without number
in Chants of the 1 st Tone. Nevertheless in the Hvmn,
Ave maris Stella, the third note

We^e^e$.

A - ve ma - ris stel - la.

is not to be sung as b flat, as the melody immediately
proceeds to the octave.

Examples for the different Tones, are in abundance
in the Gr aduale and Directorium chori] and the diligent
student should analyse some of them and study their
peculiarities. The Chants of the first Tone are joyous,
festive, and majestic. 1 )

The second Tone (hypodoric) or 1 st Plagal, u finem
facit in D vel a." It has for its final D; its fifth from
D to a; and fourth D to A descending, and thus forms
its octave A Blj C D E F G a.

It sometimes goes down to T gamma, but seldom;
(see Offertory "Dextera Domini" page 61. Grad. Bom.)
It often ascends to c. In case the Chant proceeds up-

*) These characteristics of the Tones are not fanciful. The different
position of the semitones in each of the scales, and the different com-
binations of intervals give each tone a peculiar character. The cha-
racteristics we give here are taken from old writers such as Guido,
Adam of Fulda &c. as found in Grerbert, and especially from Cardinal
Bona.

wards to a sixth from the final, then the si takes the
accidental b flat before it, and must be sung as sa; —
see the seven Antiphons beginning with 0, preceding
the Office of Christmas Day.

The character of the second Tone (modus mmstus) is
grave and mournful, fall of longing, grief mingled with
trust in God.

The third Tone (phrygian). It has E for its final,
and its legitimate range is to the octave e acutum. It
may descend to D ; and sometimes even to C ; e. g. Offer-
tory, "Lauda" (Grad. Bom. page 257) sed abusive, writes
Odo of Cluny. Si or b natural as the fifth from the
final, is of frequent occurrence; "maxime autem ideo, quia
ad acutissimam ejus, i. e. e diatessaron reddit." But as
this fifth has three tones in succession, the interval is
met with ascending or descending oftener in skips, than
with the intermediate notes: "potius saliendo quam gra-
diendo vadit". The third Tone is imperious, threatening
and characterised by vehement passion. "Tertius indi-
gnatur et acerbo insultab" For examples the following
may be taken; the Introits: In nomine Jesu and Sacer-
dotes tui Domine, (Grad. Bom. pages 190 and 47) and
the Hymns : Deus tuoruwi, and Te Joseph celebrent (Vespe-
rale Bomanum pages [12] and 325).

The Chants of fourth Tone (hypophrygian) seldom
descend to the fourth below E, and the want of this
half-tone is generally supplied by extending the upper
part of the scale to c; so that its actual ambitus, or
range, is from C to c. The si above the final is very
often changed into sa by prefixing the b flat, as in the
Hymn "Virginis Proles" (Director, chori page [34]), and
the Invitatorium "Venite" page 16*.

The fourth Tone is known as bland, sweet and at-
tractive, "quasi adulatur et allicit".

CHAPTER 17 th .

NATURE AND CHARACTERISTICS OF THE 5 th , 6 th , 7 th

AND 8 th TONES.

The fifth Tone (Lydian) takes the third species
of fifth and fourth. Its Final is F or c and its range
F-f. The characteristic note of this tone is the si or b^,
which need only be changed into sa or b flat when sung
from F or fa, in order to avoid the Tritone. This b§
natural, gives the fifth Tone a spirited majestic and joy-
ful character, hence it is called the tonus delectabilis,
Icetus, jubilans. This tone is not to be confounded with
the transposed Ionian mode having a bflat in the signature.

Examples : Introit, Loquebar, Grad. Speciosus forma,
Offert. Mirabilis Deus, Comm. Lcetabitur Justus, Invita-
torium Venite adoremus, V. Toni. Antiph. Qui pacem ponit.

The fifth and fourth in the sixth Tone (hypolydian)
are the same as those used in its authentic fifth Tone.
Its Final is F, and the Mode descends to the fourth
below, and forms the octave scale thus:

CDEFGaqc.

It may ascend to d, and by degrees descend from
F to C.

The low pitch of this Tone, and the frequently re-
curring bflat (to avoid the Tritone) give it the character
of tenderness and quiet devotion "Sextus lachrymatur et
plorat" (Modus lenis.)

Examples : The Lamentations, the Antiphon quam
metuendus, Oifertory, Domine Deus, Introits, Salus autem
and In medio Ecclesice.

OBSERVATION. When after the XIII th century Poly-
phony began to be developed, certain melodies written
in the XL and XII. modes were introduced, mainly on
the authority and through the influence of the contra-
puntists. Now as these two modes, especially if trans-

posed a fourth higher with b flat in the signature, closely
resemble the fifth and sixth, the melodies which they claim
create no little confusion in the minds of those who de-
vote themselves to the study of the ancient Ecclesiastical
modes. Through respect for antiquity they were admit-
ted into the authentic Choral books, and they are found
in the three Marian Antiphons Alma Bedemptoris, Ave
Begina, and Begina cceli, the Antiphons quam suavis
I? and sacrum convivium, and finally the solemn Be missa
est which however is of more recent origin. But in order
to render everything uniform they should have also in-
troduced melodies in these XL and XII. modes for the
chanting of the Psalms, or still retaining the notation of
the V. mode it would have been necessary to render
them in the XL mode as follows:

5 t 1 - * — z= * = \ or transposed l§tz=gzj=*=r ==i| — ■= !

EVOVAE EVOVAE

Hence arises the confusion which we discover in the

contrapuntal works of the old masters. Some retain for

the formula of the V. mode do, re, si\>, do, la; those of

the Ambrosian rite and others, especially of the Eoman

school, prefer the si natural. However it may be, this

I last arrangement should beyond all doubt be observed

' in the fifth Tone, if it is to be maintained in its purity,

and let the si flat be used in the transposed Ionic Tone.

These melodies of the XL mode and the offices In

Festo Ss. Trinitatis and in Solemnitate Corporis Christi, in

which the first Tone is given to the first Antiphon, the

second to the second and so on, show plainly that custom

and circumstances are oftentimes of more avail than

authority or theory.

The seventh Tone (mixolydian) has for final G;
and its range G a bt[ c d e f g. The si or h\ is essential
to it, and especially the progression G a bjf. If a Chant
in this Tone should not ascend to the octave from the
final, compensation is frequently made by descending a
full tone below the final.

The seventh Tone breathes majesty boldness and
^joy: (< incitate progreditur et imperiose". See the Introit

Puer natus (Grad. Bom. page 30). The Antiphon Exaudi
nos p. 73 conveys the impression of strong emotion.

The eighth Tone (hypomixolydian) ranges upwards
to e, and descends to C.

The scale of the eighth Tone is like the first. D E
F G a bij c d; but the melodic phrases and the Finals
are different in both. The bflat, is not used in the eighth
Tone so frequently as in the first 1 ); and should any piece
have it recurring very often and not irregularly, then it
were better to treat it as the second Tone transposed,
having a normal bflat in the signature, as e. g. the Hymn
Quern terra, pontus, (Director, chori page [48]). 2 )

The greatest number of Gregorian melodies are
written in the eighth Tone. 3 ) The old writers consider it
full of power and manly; also the tonus narrativus and
modus placabilis. The seventh and eighth Tones are often,
especially in long chants, mixed; e. g. the Lauda Sion.

OBSERVATION. As has been already observed,
Chants in the ninth mode, on account of its overstepping
the conventional limit, g, of the Gregorian system, are
seldom met with; they often appear transposed into the
first Tone with a normal b flat. We frequently meet in
the Graduals the tenth or hypoclolian Tone, e. g. Hodie

x ) As a rule b flat is used iu the 8 th Toue every time the melody-
is based ou the Hexachordum motte. To the Hexachordum durum com-
mencing in Gr, a modern fa may he allowed to follow, hut in this
case it should he hy way of making an end of a group of notes; e. g.

feos^^^S^^^^^^^^^^!

Examples: Qui sunt sermones; the Tract Sicut cervus; the tones of
the Hymns in Paschal time; the Introit Ad te levavi etc. etc.

2 ) On the recommendation of the Roman Commission these Chants
were published in the more recent editions in their original setting
with D for final; so also the Hymn "Jesu Redemptor" (I. Tone) where
v before e is changed into b before b.

3 ) The reason of this frequent use of the 1 st and 8 th Tones is their
convenient compass D— d. With these Tones and for a similar reason
with the 4 th and 6^ h Tones transposition is seldom necessary.

scietis (Grad. Rom.) p. 23, Tecum principium p. 25, Re-
quiem ceternam p. 47*. The Ionic mode (XI), because
of its fifth being g, still more closely resembles our
modern scale of C major, than the sixth Tone. In the
harmonic compositions of the old Masters the Ionic and
its plagal the Hypoionic Tones were much employed,
especially transposed to F with b flat in the signature.
In the Vesp. Bom. there is found a Salve Regina clearly
belonging to the XL Tone. The Sanctus, Benedictus, and
Agnus Dei of the Missa de B. V. M., as well as several
chants in the Gradual, especially in the Ordinarmm
Missce, are in the eleventh Tone transposed an octave
lower, ranging from C to c. The Antiphons Alma Bed-
emptoris (Dir. cliori p. 60) and the solemn Ite Missa est
{Graduate Bomanum p. 12) are transposed a fifth lower
with I flat normal. The Antiphons Ave Begina and Begina
cceli can also be considered as the Hypoclolian mode,
transposed a fifth lower and I flat in the signature. These
chants are at present published in their original mode.

CHAPTER 18 th .
TRANSPOSITION.

Every Tone (modus) of the so-called Systema re-
guläre, or durum, (because none of the seven diatonic
scales include a b molle or flat), may be transposed] i. e.
raised a fourth higher, or depressed a fifth lower, by
establishing one |? immediately after the Clef, (as we say
in modern music, in the signature^ and this alteration in
pitch of the entire scale, is called the Systema trans-
positum, or molle. The first Tone, for example, trans-
posed a fourth higher will run thus: Gabt?cdefg:
the relative position of the tones and semitones remain-
ing unaltered.

Mod. I. Syst. reg. Mod. I. Syst. transp.

The notes of these transposed scales are called u tuoni

Magister Choralis. fo

trasportati or finti" ; and the Chant so transposed Mu-
sica ficta. *)

In Gregorian Chant however this kind of transposition
does not often occur. But it is sometimes met with es-
pecially in Chants of the L, IL, XL and XII. modes.
And whenever a flat is thus established in the signature,
that is an indication that the Tone has been transposed.

But as all voices have not the same compass, and
Gregorian is essentially Unison Chant, some arrangement
of pitch becomes necessary, in order to bring the range
of the several Tones ranging from T to g within the
compass of average voices. Just as the Priest for ex-
ample when singing the Preface, which is in the second
Tone, begins on c d e f or g according to his vocal com-
pass, so can all Gregorian melodies be transposed into
a higher or lower pitch.

In the following table we have arranged a scheme
of transposition for all the Tones, and adapted for each
Tone to the average range of voices. Here therefore
instead of the natural positions of the Tones or Modes
we give them transposed.

I. 2 ) 2. 3. 4. 5. 6. 7. 8.

I. T. d e^f g a bjf^C d (natural position.)

II. T. d e~f g a~b|> c d (one f tA u ^ sposition a

mrr\ fl'^ab -p cr o^hd n i\ (^ wo nats i n transposition a
. ± . u ep i g dupu u. ma j 0r second down>)

IV. T. bb ^C d e ^ f g a bjj (natural position.)

V. T. d e fji 2%T" a bfc Cjpd ( three sharps in transposition

ff öfl" n ft a minor third under.)

VI. T. C d e^f g a bb^C (natural position.)

"UTT rn A fj*-"""^™ a "hU'~V» rl ( one sliar P m transposition a

V 11. 1. CI e l|f g a D^ C a fourth under.)

VTTT T n rl^pb -f o- a^hl? " O (two flats through transposition
Vlll. l.Cae?! gaDPC a major second down.)

*) This is not the only signification of Musica ficta ; it is also used
in contrapuntal harmony but in a different sense.

2 ) The finals and dominants are printed in thick type, and the
semitones occurring joined by a tie.

In many instances these transpositions may not be
found sufficient, each one therefore should try and fall in
with the diapason, that is the normal pitch of our organs,
and with its aid transpose the melodies as may be thought
desirable, using as he may require the accidentals em-
ployed in modern music; 1 ) although as a matter of fact
there is no resemblance to the modern major and minor
scales, as the division into fifths and fourths, and the
Dominants and Finals, etc. constantly produce differences.

As an example we give the melody of the Ite missa
est as sung on Semidoubles in seven transpositions with-
out altering the position of the notes.

1) Natural position:

De - o o grä -

as.

: E

*) The major and minor scales of modern music are nothing more,
as we have already said, than transpositions of the two major and
minor modes founded on c and a, or do and la. They may be reduced
to the following" 11, omitting those on do sharp or do flat, si and mi
sharp, fa flat and others, which only differ in name and are not em-
ployed in singing.

Scales

Acciden-
tals in
signature.

Scales

Acciden-
tals in
signature.

major minor

major

minor

2
3
4
5
6

g
d
a

e
b

or gb

e
b

'#
4

or e\?

7
8
9

10
11

bb
f

5b
4t>
3b
2b

The first note to he raised is f or fa; the others follow in a se-
quence of fifths: f-c-g-d-a-e-bh. In flats the first note to be lowered

12 3 4 5 6 7.

is b: the others follow in a sequence of fourths: b-e-a-d-g-c-f.

12 3 4 5 6 7.

Because as every untransposed Gregorian melody may be said

2) One tone lower:

sol do miy

§=S

grä - ti - as.

3) A minor third lower : l )

fay* si re

gra

ti - as.

4) One tone higher:

si mi so?

=«

j^fr^-==j| g^gg

P*A.

-■ — p«-

ti - as.

De - o o grä

5) A minor third higher (if a major third 4#)

do fa la V

De - o o gra - ti - as.

6) A fourth (or twelfth) higher:

re sol siy

»•SE^feS^

gra

ti - as.

7) A fifth higher:

mi la do

^E^==^J^

"**

— Ni-
gra - ti - as.

to be in C major, as far as the signature is concerned, to facilitate
transposition, we may imagine D major (2 Jf) when transposing a tone
upwards, A major (3 jf) when transposing a minor third downwards, etc.

*) To lower it a major third the 3 $ should he changed into
4 flats. If there he a flat in the melody, it is changed into Sj in the
sharp keys, and the t[ into a Jf.

By practice in the C and F clefs on any of the four
lines and the G clef on the second line, any piece may
be transposed without changing the position of the
notes. *)

CHAPTER 19 th .

ON THE USE OF THE DIESIS OR # IN GREGORIAN

CHANT.

The word Diesis has had several significations in
the course of time. The Greeks used it to designate
the half of the Limma, enharmonic diesis. In a some-
what analogous sense the musical Theorists of the 12 th
and 13 th centuries, call diesis every Interval, which by
mathematical calculation does not make up an exact
half-tone. 2 ) John de Maris (1300 — 1370) calls the minor
semitone diesis u Semitonium minus vocatur diesis". This
signification of it was generally established in the 16 th
century and thence to our time, so that every raising of
the Tone by # and Jj (this last sign was written jj even
up to the 17 th century) was named Diesis. 3 )

Frequently this sign was written expressly, but for
the most part it was left to the singers who according

*) Singers of Gregorian Chant may spare themselves the study of
these transpositions, if they are well accustomed to intone the Inter-
vals, Tones, Semitones, Thirds, Fourths and Fifths in any pitch. For
Directors and Organists however an acquaintance with them is essential.

a ) "Cum aliquis tonus bipartitur propter aliquam consonantiam
colorandam, prima pars toni, sic divisi, si per ascensum fit, major est,
et vocatur chroma, pars vero, quae restat, diesis dicitur." Marchettus
de Padua (1300).

3 ) The Italians even still say ut diesis, and the French ut dieze.
The English use the word sharp. The Germans when they wish^ to
designate the sharpening or flattering of a note, instead of saying
A flat, C flat, D sharp or F sharp they add a syllable is or es or s
to the letter expressing the note affected by a musical accident and
thus they have for,

English: A sharp, B sharp, C sharp, D sharp, E sharp, F sharp, G sharp.
German: Ais, His, Cis, Dis, Eis, Fis, Gis.

English: A flat, B flat, C flat, D flat, E flat, F flat, G flat,
German: As, B, Ces, Des, Es, Fes, Ges.

to fixed rules , or by way of preference introduced it in
cadences and closes with two voices for the reestablish-
ment of a major sixth or minor third. As Gregorian
Chant was always regarded as unison chant, so the rules
for contrapuntal cadences in two parts, had no influence
on it and the fundamental rule remains.

Except I? before si to avoid the Tritone, no other ac-
cidental, and no other indication of the raising or lowering
of the Tone, is allowable in Gregorian.

Consequently the sign $ does not exist in pure Gre-
gorian Chant. The sign \ restoring the si, when pre-
viously lowered by the (? prefixed to it, to its natural
sound, is usually marked in modern editions, but it is
not essential, as, if no Tritone occurs, it should be al-
ways understood that si is to be sung natural.

Many authors rely on certain passages in Gerbert
Script, and de cantu et mus. sacra, to uphold the use of
the diesis, and chromatic closes in Plain- Chant. Ab-
stracting however from the obscurity and ambiguity of
these passages, both Gerbert and Coussemacker Tom. II.
p. 293 especially, bring forward witnesses for the con-
trary, who to say the least of them, are fully as clear
and of as great authority as the defenders of the Diesis.
These are Begino of Prüm (A. D. 910) in Gerbert, Tom. I.
p. 232, Oclo of Cluny, 1 ) Hucbald &c. Moreover, the pas-
sage from Aurelian, quoted by Gerbert, in which the
diesis is defined, says nothing about its use in the dia-
tonic music of the Church. Elias Salomonis (A. D. 1274),
quoted also by Gerbert, writes "In G non dicitur fa, sed
recompensatur re"; 2 ) that is to say, you cannot construct

x ) S. Odo says of it "nimis delicata, vitiosa, inaxime lasciviens,
quod magis corrigi, quam imitari oportet."

2 ) Ambros in his History of Music is also of opinion that it was
much later, when forsooth Gregorian Chant and figured Music were
mixed up, and the latter got the upper hand, that the $ was used

a Hexaehord (See Table of Hexachords in Chap. 1.) on D,
because then it would run thus DEFfG, but you must

ut re mi fa,

begin a Tone under G, and say F Gr a bl?. *)

ut re mi fa.

Padre Martini (A. D. 1784) whose work on music
has earned a world-wide reputation, writes: "The Cantus
"firmus is, according to the testimony of the earliest
"authors, purely Diatonic. Consequently it receives no
"colouring from the so-called musical accidentals jf and |?;
"except when the latter is used from F upwards to avoid
"the Tritone, and downwards to avoid the diminished fifth."
Baini in his Memorie Storico- Criticize of Palestrina Vol.
II. pag. 122 complains , that in some of the editions of
the Choral books capricious alterations had been intro-
duced, leaving nothing but a mere skeleton of the an-
cient chant. "Some," he says "dreamt of putting b motte
"before e (mi)] and then they should either contradict
"themselves, or else place it also before a (la); and so
"the very nature of Gregorian Chant becomes completely

with C and F (VII. and VIII. Tones) and even more frequently; any
one that knows the History of Plain Song must admit the same. In
the II. vol. p. 155 (Geschichte der Musik) he writes : "So long as Gre-
gorian Chant, the pure choral Song, was rendered in unison, it is well
established that none other but the fixed Tones of each Church Mode
according to the strict Diatonic system were adopted; as soon how-
ever as they commenced to sing in parts, the difficulties of a strict
diatonic chant began to be felt, and it had to seek the assistance of
Medium Tones." And again in page 51: "The harmonic relations of
Tonality in the modern sense, have got the mastery over our melodic
treatment; the Gregorian was independent of them."

*) Heee Schlecht, in a very closely reasoned paper published
in the Monatshefte für Musikgeschichte, 1872, tries to elicit authority
for the Diesis from a passage in Guido' s Micrologus, where speaking
of irregular transpositions, he enumerates amongst the blunderers,
those who "quasdam subductiones faciunt, in trito, quce dieses appel-
lantur" But Heer Habeel in the 4 th edition of the "Magister Choralis",
published 1873, says in a foot note, page 52, that he examined the
most ancient exemplars of Gfuido's Micrologus in the Vatican Library,
in Florence and Bologna, compared them with Gerbert's version, and
found that this sentence was originally a marginal gloss inserted at

4 least two centuries later, which subsequently found its way into

1 the text.

"altered; others scattered b molls, and b quadros (if), and
"even \ (dieses) recklessly about and thus destroyed al-
"most every vestige of the ancient mode."

If recourse is had to the masters of the middle ages,
who in the polyphonous treatment of the Gregorian
melodies frequently use the accidental semitones, it must
be borne in mind that in those cases they did not under-
take the construction or arrangement of the entire melody,.
(and therefore do not furnish the true version of the Gre-
gorian Chant, as such) but only extracted melodic phrases
from it, on which to establish their polyphonous compo-
sitions. These very compositions themselves furnish un-
deniable proofs that, even in their time, Gregorian was
regarded as strictly Diatonic; for if they give the whole
Gregorian melody — marked cantusfirmus, — to the Tenor,
or some other leading voice, they leave it there untouched.
Then the harmonic and contrapuntal effects had to be ar-
ranged around that in such a manner, as that the full tone
might be expressed in those places where the defenders
of the Diesis would now seek to introduce a semitone. 1 )

The reproach of unmusical taste, or unscientific de-
velopment of the same, cannot fairly be urged against
the supporters of the pure Diatonic system; for if some
passages sound hard or even rugged, the fault may be
traced either to the bad rendering of it, to a disregard
of the Rhythm, or to an injudicious organ accompaniment.

Louis Schneider 2 ) (died A. D. 1864) writing to Herr
Oberhoffer in Luxembourg said; "One thing I must impress

*) These remarks can be proved by examples. See Palestrina's
Hymns, the Choralis Constantimis of Henry Isaac, the Introits etc.
of Constanzo Porta, Matteo Asola and others. The Proske Library
in Ratisbon will furnish rich materials to any one that wishes to study
this point closely. See also Witt, Musica Sacra, 1868, page 33 &c.

2 ) Schneider was a very clever contrapuntist. His rules for har-
monising Gregorian are most valuable. They were published in 1866
(Frankfort-Hammacher) and styled "Gregorianische Choralgesänge" &c

"upon you; i. e. to banish for ever and aye the Diesis
"from Gregorian Chant, and fly the cross (the sign jj
"in German is called Kreuz, cross) as the Devil would.
"All that has ever been said or may yet be said in its
"justification is vain, a delusion and a snare. Between
"music external to the Church, and Liturgical Chant
"there is and must be an impassable barrier, as great a
"distinction as there is between Heaven and Earth, bet-
"ween a secular banquet and the Last Supper. I beseech
u of you never to be offended with the simple, earnest,
"strictly diatonic, proscribed, poor garment of Christ,
"the liturgical Song."

SECTIO PRACTICA.

CHAPTER 20 th .
THE LITURGICAL BOOKS.

The Books of the Liturgy contain the Chants for
all the functions which form part of the Catholic Liturgy.
For centuries there did not exist an uniform or com-
plete collection of these books, until the Sacred Congre-
gation of Rites within the last twenty years or so sup-
plied this deficiency by publishing a new and complete
edition known under the title of editio typica, and com-
prising all the authentic and official books of the Roman
Chant. They are as follows.

1. The Roman Missal, — Missale Romanum, or
Mass Book, containing all the Lessons, Gospels, Prayers
etc., the Canon of the Mass, the various Intonations of
the Celebrant, the Chants of the Preface, Pater noster etc.
Conformably to the Decree of the 26 th April 1883, all the
Chants of the Missal even to the form of their notation,
I are now obligatory for all.

Pius V., in the year 1570, published the Missal
with the alterations recommended by the Council of
Trent. Its title was „Missale Romanum | ex decreto
Sacrosancti Concilii [ Tridentini restitutum, | Pii Y. Pont.
Max. J jussu editum. | Roime. Apud Hseredes Bartholomsei
Ealletti, Joannem Variscum, et Socios." |

The last leaf repeats the name of the printers and
ends with the date MDLXX.

Under Clement VIII. in 1604 another revised edition
appeared Bomce ex typographic Vaticana, and a third
and last under Urban VIII. , Romce ex typographic^ Camerce
Apostolicce, 1634. The various alterations and improve-
ments effected under Pius V., Clement VIII. and Urban
VIII. served as a basis for the most recent edition
published under the auspices of Leo XIII. It contains
moreover the most recent rubrical directions, the Missce
votivce per annum, those pro aliquibus locis recently in-
troduced and finally all the chants carefully corrected.
With reference to the Intonations and Chants of the
Missal the Decree already cited of Ap. 26. 1883 restrains
Editors and Printers from making any changes or altera-
tions whatsoever; thus these Chants become obligatory
for the universal Church. The same may be said for
the Chants of the Ritual and Pontifical.

2. The Roman Gradual, — Graduale Romanum,
contains the chants of the Concentus, or those portions
of the Liturgy of the Mass not to be sung by the Cele-
brant or sacred ministers, but by the Choir. Hence in
it, we have the Introits, Graduate, Tracts, Alleluias, Se-
quences, Offertories and Communions of the entire Eccle-
siastical year, and those proper to the several Festivals.

The name Gradual was originally given to the Chant
which followed the Epistle, from the fact, as some sup-
pose, that the Cantor stood on the steps (ad gradus) of
the Ambo or pulpit, whilst it was being sung. As this
Chant was up to the end of the 6 th century, sung as a
Solo by a Deacon, and as the Celebrant and assistants
discharged no other liturgical function whilst it was being
sung, but remained listening, this particular Chant ad

Igradus must have been considered as most important.
I All the other Chants occurring during the Holy Sacrifice
«were performed by the choir in piano. 1 ) This circum-
1 stance explains the fact, that the name of this impor-
jtant chant passed on to the Book which contained it,
I though later on, it included not only the Graduals, but
also the other chants of the Mass.

The Ordinarium Missae (fixed Mass Chants) has been
[published separately in various forms large and small.
I For Parish Churches there is published a useful Epitome
lex Graduali Romano containing the chants for all solem-
nities falling on Sundays and Holidays of obligation and
lall Feasts which may fall on Sundays, on which days
[only it would be for the most part required in these
I churches. The Compendium Gradualis et Missalis Romani
I reproduces the Epitome but in addition contains the
(Prayers, Epistles and Gospels of the Feasts; and an
I appendix from the Ritual, and the Proper for the Clergy
I of Rome. -

3. The Pontificate Romanum, a book containing
■ the several functions proper to a Bishop.

The melodies of the Pontificate were scrupulously
['corrected according to the Decree of April 1883; so that
[now the Antiphons, Responsories and other Chants of
I the Pontifical correspond exactly with those of the Gra-
\ duale and. AntipJionarium Bomanwm. For the convenience
I of the clergy and choirs there are published separately
I those portions of the Pontificate which contain the more
I ordinary functions of Bishops, such as confirmation, minor
I orders, Subdeaconship, Deaconship and Priesthood, the
I consecration of altars and of churches. Every separate
I extract contains the correct Gregorian Chant.

4. The Rituale Romanum, — or Roman Ritual,
I for the administration of the Sacraments, the burial
I service &c.

It was first edited under Paul V. 1614, and enlarged
by Benedict XIV. 1752. The most recent edition of the

V r i *) See Duchesne 1. c. page 161.

Roman Ritual official and typica has been published, with
the approbation of the Sacred Congregation of Rites, by
Herr Pustet of Ratisbon 1884.

Several portions of the Ritual are extracted there-
from, and published separately for greater convenience;
such as the Processionale Romanum which contains the
chants for Processions, the approved Litanies, the prayers
and chants prescribed for receiving the Bishop and other
Canticles and Psalms.

The extract, however, that will be found most gene-
rally in demand, is the Exsequiale Romanum, or Ordo Ex-
sequiarum, containing the Mass and Office of the Dead,
and the ceremony of Interment of adults and children, j
It is published in two forms either with the office of the
Dead alone taken from the Antiplionarium or having in |
addition the burial service from the Ritual. 1 )

5. The Cseremoniale Episcoporum published by
order of Clement YIIL, Innocent X., Benedict XIII. was
newly revised under Benedict XIV. and published as
editio typica in 1886 under Leo XIII. It is one of the
most important liturgical books, because it serves to
complete those portions of the Missal, Breviary and
Pontifical which contain Rubrics; consequently its in-
structions bind under the same obligation as do the
Rubrics themselves.

Although the title would seem to indicate that it
only refers to the functions proper to Bishops, never-
theless its rules affect all churches whether cathedral or
collegiate, monasteries, religious communities etc. For
us especially it is particularly important, as in many
places it contains the laws which regulate liturgical music;
in fact Chapters 27. and 28. are exclusively devoted to
Ecclesiastical chant, music and organ playing. 2 )

*) See K.-M. Jahrbuch 1887, pp. 88 et seqq., and the latin brochure
of Joach. Solans de vi obligandi libri Cceremoniale Episcoporum (Fr. Pustet.)

2 ) [For the special use of the Irish Clergy His Grace the Arch-
bishop of Dublin has published a special Exsequiale extracted from the
Editio typica of the S. E. 0., (Grill, Dublin) which has already reached
a second edition.]

Under the title Cantorinus Romanus we find pub-
lished a collection of all the Gregorian intonations and
[melodies which are of universal obligation. They are
[extracted from the typical editions of the Missal, Pon-
tifical, Ritual, and Cceremoniale Episcoporum. This book
[constitutes so to speak the Canon of liturgical Chant,
[and will serve for exercises to clerical students, and to
[propagate still more widely the desired reform in Plain-
I Chant according to the wish of the S. Congregation and
I of the Holy See.

6. The Antiphonarium Romanum, — or Roman
[Äntiphonary, contains all the chants for the several
portions of the Divine Office; — the Antiphons at Matins,
Lauds, Vespers; the Invitatories, Responses, Psalmtones,
etc. just as the Graduate contains the Chants for the
Mass. 1 )

The 2 d volume of the official edition of the Antipli.

\Rom. in Folio which, as the most needed, was the first
published, contains: the Antiphons, Psalms, Hymns and
Versicles of the so-called Horce diurnce, and in it are

' united the two separate books which in old editions one
should have recourse to namely the Psalterium 2 ) and the
Antipli. Romanum. The first part of the 1 st vol. contains
the Invitatories , Hymns , Antiphons , Versicles and Res-
ponsories of Matins for the Proprium de Tempore] the
second part for the Proprium and Commune Sanctorum.

As extracts from the AntipJi. Bom. there are published
in small handy editions : a) Vesper ale Romanum, b) 'Epi-
tome ex Vesperali Romano, c) Officium Nativitatis, d) Of-
ficium liebdom, sanctce, e) Officium Befunctorum (see above
under 4). From the office of Holy Week, three separate

x ) In the official edition the Papal Commission selected the edition
of Petr. Liechtenstein, Venice 1585, but for the Eesponsories at Matins,
the Antiph. Rom. Antverpice ap. Joachim Trogncesium, 1611, and the
Directorium Chori.

2 ) In Psalterium Romanum were found the Psalms for the Office
de Tempore for the week, as well as the Hymns for the year and the
Officium Defunctorum. Subsequently the Hymns were published se-
v parately from the Psalterium. A third book was the Responsoriale.

Fasciculi in small Folio, contain the four Passions, the
nine Lamentations, and the Exsultet for Holy Saturday,
after the model published at Rome in 1586 by Guidetti,
"Cantus JEcclesiasticus Passionis D. N. J. C. secundum
Matthceum, Mar cum, Lucam et Joannem"

For Choirmasters, Singers and well instructed Laity
there are small manuals with the entire office of Holy
Week, with a German translation, and the chants printed
in modern notation with the G clef. To bring together
the principal Prayers and Chants of the Breviary and
Antiphonary, there is now available a Compendium Anti-
phonarii et Breviarii Romani taken from the typical edi-
tions, and which contains in the order of the Breviary,
Lauds, Vespers and small hours, with little Chapters,
Versicles and Prayers for all Feasts and Days of the
year which may fall on Sundays, as well as Matins for the
three last days of Holy Week, and of Easter, Pentecost
and Corpus Christi.

A Cantatorium Romanum besides the full contents
of the Compendium Gradualis et Missalis Bom. contains
also the Matins and Lauds of the triduum sacrum, the
Easter office and office for the Dead as well as Vespers
for Sundays and Festivals and Complin.

7. The Directorium Chori is the standard book
for all Intonations of the Celebrant, Hebdomadarian and
Chanters; it furnishes the ground plan for the Antipho-
narium, in which all the Chants with the exception of
the Responsories after the Lessons, at least in their
opening phrase and indication of mode are to be found.
Here we have indicated the Tones of the Psalms, the
melodies of the Venite Exsultemus, of the Psalms, Ver-
sicles, Lessons, Besp. brevia, Te JDeum, Prayers, Litanies,
Gloria, Be missa est and so forth. The official edition
(1888) added the text of all the Psalms, the whole
melody of the Hymns, and the new Feasts; hence this
book may be considered indispensable for the canonical
office.

CHAPTER 21 st .
THE ECCLESIASTICAL YEAR AND CALENDAR.

I. The Ecclesiastical year, is divided into three prin-
cipal seasons, and all days and hours of these seasons,
are a proximate or remote, anterior or posterior celebration
of the three great central festivals: Christmas, Easter
and Pentecost. The most proximate anterior celebration
is the Vigil, which is only found with the older festivals,
and not with those of comparatively recent date; such
as Corpus Christi, and the Feast of St. Joseph etc. The
most proximate posterior celebration is the octave, which
closes on the eighth day after the Festival.

The remote anterior and posterior celebrations of
the three central Feasts, are the Sundays with their
intervening Ferias, or Week-days. What the octave is
to the Festival, the Feria is to the preceding Sunday.
If the latter be ranked high so also are the subsequent
Ferice-, and hence we have ferice majores and minores.
To the first -mentioned belong, the ferice (or iveek-days)
of Advent and Lent; the Wednesdays, Fridays and Satur-
days of Quarter tense, and the Bogation days.

Between the three great central festivals, other
Feasts of our Blessed Lord, of the Blessed Virgin and
of the Saints and Angels are inserted during the course
of the year.

The Ecclesiastical year begins with the first Sunday
of Advent. In the week following the third Sunday we
have the first Quarter tense] and after the fourth Sunday
the Vigil of Christmas, then the Feast of Christmas, and
a succession of Feasts with Octaves. The octave day of
Christmas is the 1 st of January ; — feast of the Circum-
cision of our Lord. On the 6 th of January we celebrate
the Fpiphania Domini, or his manifestation to the Gen-
stiles; and then follows the closing of the first great

festival with the Sundays after Epiphany (Dom. post
Epiph); the number of which is regulated by the time
of Easter; it is sometimes more, sometimes less, but
never can exceed six.

The remote preparation for the Festival of Easter
commences with Septuagesima Sunday, (70 th day before
Easter) it includes Sexagesima, Quinquagesima and con-
tinues up to Ash -Wednesday j (Feria IV. Cinerum) when
the Church enters on the 40 days Fast (Quadragesima).
Between the 1 st and 2 nd Sunday of Lent, we meet the
second Quarter tense. After four Sundays, Passion- tide
follows commencing with Passion-Sunday (Dominica Pas-
sionis); the week following being called Passion-week, and
then Palm- Sunday (Dominica Palmarum), commencing
Holy Week (Hebdomada major)) during which, Holy Thurs-
day (Feria V. in Coena Domini), Good Friday (Feria VI.
in Parasceve) , and Holy Saturday (Sabbatum Sanctum)
are specially solemnized. Easter (Pascha) has its octave,
which closes on Low Sunday (Dominica in Albis), and
then four Sundays follow. After the 4 th Sunday (or 5 th
after Easter), we meet the Rogation clays, and Ascension
Thursday, and on the 50 th day after Easter; — Whit-
Sunday or Pentecost (Dominica Pentecostes) ; for which
the days from Ascension day to the Vigil, including Sun-
day within the Octave (Domin. infra Octavam Ascensionis),
serve as an immediate preparation.

The Octave of Pentecost includes the third Quarter
tense and closes on Trinity Sunday (Festum Ss. Trinitatis):
The Paschal Time closes with None on Trinity Eve. On
the Thursday immediately following Trinity Sunday, the
Church celebrates the Feast of Corpus Christi (Festum
Ss. Corp. Christi), or Feast of the Most Holy Sacrament,
which has an Octave, and then follow the Sundays after
Pentecost, in regular succession to the number of 23;
(the fourth Quarter tense occurring in September). Should

there be more than 24 Sundays, between Pentecost and
Advent, then after the 23 d Sunday, are inserted such
Sundays after Epiphany, as could not be celebrated in
their proper season, by reason of the proximity of Easter;
commencing with the 3 d Sunday after Epiphany, if there
be 28; with the 4 th if only 27; and so forth. The last
Sunday after Pentecost (marked XXIV. et ultima) termi-
nates the Ecclesiastical year.

The Festivals or Feasts occurring between these
three central Feasts, have not all the same rank or
dignity, and consequently are not celebrated with equal
solemnity. The Liturgy classifies them as simples (sim-
plicia), semidouUes (semiduplicia) , and doubles] the last
mentioned are again divided into doubles of the 1 st class
(dupl. I. classis) and doubles of the 2 nd class (dupl. 2. classis),
greater doubles and lesser doubles (duplicia majora et
minora). The lesser doubles are marked in the calendar
with the abbreviated word dupl. (duplex) \ the others are
specially indicated.

As the Church Festivals became so numerous that
they could not all be celebrated by the people with abs-
tinence from servile work and attendance at Mass, a
further distinction was established, viz Festum in foro,
public holiday, and Festum in choro, Church holiday.

Every country or Diocese has moreover certain na-
tional or local Feasts, which are indicated in the Calendar
specially, and quoted as from the Office proper to such
country or Diocese; e. g. ex proprio Hibernice, ex proprio
Anglice etc. (from the proper of Ireland, or from the
proper of England, etc.)

II. The Ecclesiastical Calendar, or "Or do recitandi
officium divinum Missamque celebrandi/' is a book neces-
sary for every priest, that he may know the Office and
Mass to be said every day in the year. We would also
^add, that wherever the music in the Church is conducted

r-r

Magister Choralis. '

according to the requirements of the Liturgy; (and there
is no place where such ought not to be the case) every
Organist or Choir Master, should likewise be provided
with it, and familiarised with its use.

[On the continent of Europe, each Diocese has its
own special Calendar or Ordo; but in Ireland, England
and Scotland, and the United States of America, a general
Ordo for the whole country is compiled each year; those
feasts which are specially celebrated in particular dioceses
or localities, being indicated in smaller type. Moreover,
as Organists and Choir Masters are not generally con-
versant with the Latin language and Latin terminology;
editions in English of the Ordo are published in Dublin,
London 1 ) and New York, thus removing all excuse from
those, who would study to have the Music of the Church,
conformable to the Church's spirit and Liturgy.]

The Ecclesiastical Calendar begins with the civil
year on the l 8t of January (the date of the 1 st Sunday of
Advent, the proper commencement of the Ecclesiastical
year, being variable). The order of Feasts is regulated
by the time of Easter; for, according as Easter ^occurs,
Septuagesima Sunday, Ash Wednesday, Ascension Thurs-
day, Pentecost, Corpus Christi, etc., are determined. These
Feasts consequently are styled moveable Feasts (Festa
mobilia). The several Directories or Ordos published,
whether in Latin or English, use abbreviations to indi-
cate the rank of the Feast, the Office to be said, whether
proper or common, the colour of the vestments etc.; a
key to which abbreviations is generally found at the
beginning or end of the book. An Alphabetical list at the
end of this book will furnish an explanation of most of
the contractions used in the Latin or English Directories.

*) The Catholic Directory Ecclesiastical Register and Almanac.
London, Burns & Oates.

CHAPTER 22 d .

ARRANGEMENT OF THE MISSAL (GRADUAL) AND

BREVIARY.

I. The Missale Bomanum is divided into six prin-
cipal sections; so also the Graduelle Bomanum; namely:
1) Proprium de Tempore contains the Masses for all
Feasts, Sundays and Ferias of the regular Ecclesiastical
year (tempus) from the 1 st Sunday of Advent to the last
after Pentecost. Between Easter Saturday and Easter
Sunday, the 2) Or do Missce with the Canon of the Mass
is inserted. 1 ) 3) The Proprium Missarum de Sanctis, or
special formulas for the Feasts of the B. M. V., the
Saints, Angels etc.; from the 29 th of September (Vigil of
St. Andrew the Apostle), to the 26 th of November (Feast
of St. Peter of Alexandria). As most Feasts of Saints,
even to the smallest Prayers and Versicles, have fixed
formulas in common; so the 4 th section contains the Com-
mune Sanctorum, or Common of Saints, which is thus
subdivided: a) In Vigilia unius Apostoli (on the Vigil of
an Apostle) ; b) Commune unius Martyris Pontificis (com-
mon of a Martyr who was also Bishop); with two dif-
ferent formulas ; c) Commune unius Martyris non Pontificis
(common of a Martyr not a Bishop, with two forms);
d) Commune Marty rum tempore Paschali. De uno Marty re
(Feast of one Martyr in Paschal time, i. e. from Low
Sunday to Pentecost); e) De pluribus Martyribus temp.
Pasch. (of many martyrs in Paschal time); f) Commune
plurium Martyrum extra temp. Paschale (of many Martyrs
outside of Paschal time); g) Commune Confessor is et Pon-
tificis (common of a Confessor and Bishop, with two dif-
ferent Masses) ; h) Commune Doctorum (Common of Doctors) ;

*) Or do Missce indicates that portion of the Liturgy of the Mass
which is unchangeable. In the Graduate the regular Chants for the
Kyrie, Gloria, Sanctus, Benedictus and Agnus Dei (Credo) are found at
\ the end of the volume under the title 'Vrdinarium Missaz."

100

i) Commune Conf. non Pontificis (Common of a Confessor
not a Bishop, with two Masses) ; k) Missa pro Abbatibus
(a Mass for Abbots); 1) Commune Virginum. Pro Virgine
et Martyre (for a Virgin and Martyr, three Masses);
m) Pro Virgine tantum (for a Virgin only, two formulas)
n) Commune non Virginum. Pro una Mart, non Virg.
(for a Martyr not a Virgin) ; o) Pro nee Virg. nee Mart.
(for neither Virgin nor Martyr, e. g. holy widows) ; p) In
Anniversario Dedieationis JEcclesicB (the anniversary of
the Dedication of a Church).

Then follows the fifth section, the Votive Masses 1 )
(Misses Votivce)] first for each day of the week; — for
Monday in honour of the Holy Trinity, or for the Dead; 2 )
for Tuesday in honour of the Holy Angels; for Wednes-
day in honour of the Holy Apostles SS. Peter and Paul;
for Thursday in honour of the Blessed Sacrament; for
Friday in honour of the Holy Cross or Passion of our
Saviour; and for Saturday in honour of the Blessed Virgin;
this last with five different formulas according to the dif-
ferent seasons of the Ecclesiastical year. 3 ) After these
come 13 Votive Masses for particular objects, e. g. the
Election of a Pope, for the Sick, for Peace, for a Bride
and Bridegroom &c, the Orationes diver see, Missce pro
defunctis, the Ordo ad faciendam aquam benedictam and
Benedictiones diversce.

Then come Votive Masses for each day of the week,
conceded to the whole Church by Decree of July 5 th 1883
— Monday for the Holy Angels, Tuesday for the Apostles,

x ) "Votive masses, are so called, because celebrated for some special
purpose of impetration, thanksgiving-, or praise." Amber -ger, Pastoral-
theologie, vol. II. p. 241.

2 ) The Missa pro Defunctis is found in the Missal last of all the
Votive masses, and in the Gradual at the end of the Ordinär. Misso?.

3 ) From Advent to Christmas, from Christmas to the Purification,
from the Purification (Feb. 2 nd ) to Easter, from Easter to Pentecost,
from Pentecost to Advent.

101

Wednesday for S 1 Joseph, Thursday for the B. Sacrament,
Friday for the Passion, Saturday for the Immaculate
Conception. These Votive Masses rank as semiduplicia;
they should not be sung in the ferial Tone, the Gloria
and Ite missa est is to be intoned as on a semidouble,
except on Thursdays and Saturdays when the Gloria and
Ite missa est de Beata is ordered. The Choir Master in
case of doubt should ascertain before-hand what Mass
formula is about to be used and what may be the rank
of the solemnity.

The sixth section embraces the Festivals for par-
ticular places (Festa pro aliquibus locis), which are not
celebrated by the universal Church, going from the
8 th of December, to the 29 th of November. As an Ap-
pendix or Supplement to the Missal or Gradual, we meet
in the end, the proper for each Diocese or country,
e. g. Proprium Hibernice, containing the Masses for the
Irish Saints, whose Feasts may not be solemnized by
the Church at large, but who are specially honoured in
Ireland.

II. The Breviary, and also the Directorium Chori,
the Antiph. Bom. and the extract for Vespers (Vesperale
Bomanum) have exactly the same arrangement as the
Missal. Before Proprium de Tempore (and instead of the
Ordo and Canon in the Missal), we find the Psalterium
Bomanum dispositum per Hebdomadam or Psalms, por-
tioned out to each day of the week; and instead of the
fifth section of the Missal (the Votive Masses), we have
in the Breviary, the Office of the B. M. V., the Office
for the Bead, the Litany of the Saints &c. Each day
has its own Matins, Lauds, and canonical hours: Prime,
Terce, Sext and None, Vespers and Complin. These several
portions of the Divine Office will be more fully explained
* in subsequent chapters. At the end of the Directorium

102

Chori, Vesper ale and Antiphonarium , the fixed Chants
and Intonations for the Psalms, Versicles &c. are collected
together under the rubric "Commune Directorii Vespe-
ralis, or Antiphonarii" with special pagination distin-
guished by a star, thus, (*).

o^k>

THE HOLY SACRIFICE OF THE MASS.

CHAPTER 23 d .
INTROIT. — KYRIE. — GLORIA.

I. The Introit, l ) (Introitus, entrance), is an antiphonal 2 )
Chant, comprising an Antiphon, one verse of a Psalm,
and the Doxology or Gloria Patri; 3 ) after which the
Antiphon is repeated. At Easter, and during Paschal
Time, the Antiphon of the Introit is terminated by a
double Alleluia ; which will be found, with a suitable
modulation for each mode, at pages 70* and 71* of the
Gradual (8° edition), and pages 113* and seqq., Vol. II.
of the Folio edition.

*) In earlier times (See Duchesne 1.- c. p. 155) the Antiphon ad
introitum was begun when the Celebrant left the Sacristy, and the
entire Psalm connected with it sung whilst he moved on processionally
to the altar; now only one verse of the Psalm is sung with the
Gloria Patri.

The Ccerem. Episc. Lib. II. cap. VIII. §. 30 remarks : "Cum vero
Episcopus pervenerit ante infimum gradum altaris . . . cessat sonitus or-
ganorum, et Chorus incipit Introitum."

A valuable collection of Decrees on liturgical Chant may be seen
in the Cäcilien-Kalender , 1879, art. of P. Utto Kornmüller "Kechts-
kräftige Verordnungen über Kirchenmusik" and in a similar com-
pilation of Ign. Mitterer, Eegensburg, Coppenrath, 1885.

a ) i. e. to be chanted alternately by two choirs , or two divisions
of a choir.

3 ) During Passion Time, i. e. from Passion Sunday to Holy
Thursday inclusive, and in Masses of the Dead, the Gloria Patri is
omitted.

The Tones for the Gloria Patri at the Introits are given in an
appendix to the Graduale and with the Alleluja Tones for Paschal
Time are also furnished on a detached sheet.

103

On Ferias (week-days) and simple Feasts (simplicia)
one Chorister 1 ) intones the Introit and sings alone up to
the first upright lines drawn across the stave — ft—; on
semidoubles and Sundays (when the Mass is of the Sunday,
and not the Feast of a Saint &c.) two choristers chant
this Intonation; whilst on Feasts of greater rank and
solemnity, three or four unite in singing it; then the entire
Choir falls in, and sings the Antiphon right through till
they meet the second double bar =f[=i, and the Psalm
verse indicated by the red letters Fs. preceding. The
first half of this verse down to the colon, and the Gloria
Fatri, are sung by one or more choristers as above,
the full choir responding with the remaining half and the
Sicut erat. 2 ) Then the Introit is repeated down to the
Psalmverse.

II. The Introit is followed immediately by the Kyrie
(ter — i. e. three times repeated), Christe (ter) and Kyrie
(ter)] s ) the Ccerem. Episc. prescribes that at the Kyrie
the organ may play the alternate Kyries in those seasons
and on those occasions when the use of the organ is not
forbidden.

OBSERVATION. In the Gr aduale Bomanum under
the rubric Ordinarium Missce, we find the regularly
recurring chants of the Kyrie, Gloria, Credo, Sanctus,
Benedictus and Agnus Dei, arranged according to the
rank or character of the Ecclesiastical Seasons and Feasts;

*) Vide the Directions for using the Gradual printed in the com-
mencement of the official edition.

2 ) The rule is: "If on account of the alternations of the organ,
any portion of the prescribed Text is not sung, it should be recited.
When the organ is silent all should be sung." The two words em-
ployed by the S. E. C. and the Cserem. (intelligibili voce and submissa
voce) leave the loudness of the recitation an open question.

3 ) This ninefold repetition of the Kyrie as it is in our present
Liturgy is the remnant of a Litany, which according to most ancient
custom (as on Easter and Pentecost Saturdays) was sung alternately
before Mass (see Duchesne 1. c. p. 157).

104

following the same order that the Ite missa est, and Bene-
dicamus Domino preserve in the Missal: in all, V6 Masses
or Mass Chants, and the Mass for the Dead. As Easter
is the greatest festival, the first in order is the Mass to
be used on week days from Holy Saturday to Saturday
in albis (inclusive). Then the Gregorian Mass for the
most solemn Festivals (festa solemnia). The third Mass
is for festivals of high rank, though not the highest (festa
duplicia), which may be varied with the fourth. The fifth
and sixth Masses are exclusively for Festivals of the
B. Y. M.; which may be either solemnia, duplicia, or
semiduplicia.

If on any Sunday throughout the year (except the
Sundays of Lent and Advent) the Office and Mass be of
the Sunday, and not of the B. V. M. or any Saint; then
the seventh Mass (in Dominicis infra annum) is to be sung.

On Feasts of Saints (semidoubles) , the eighth Mass
is used. On semidoubles (ferias) within Octaves, (not
Octaves of the B. V. M.), and when the office is, de die
infra Octavam, the ninth Mass is employed. The tenth
Mass is for simple Festivals (ritu simplici). In the present
arrangement of the Calendar they occur very seldom.

On Ferias (work- days) throughout the year, except
during Advent and Lent, the eleventh Mass is used. On
the Sundays of Advent and Lent (Septuagesima to Quin-
quagesima not included), the twelfth Mass; and on the
Ferias of Advent and Lent the thirteenth.

Then comes the Mass for the Dead (pro Defunctis)
which is given entire, from the Introit to the Respon-
sorium Libera.

In most of these Masses the melody of the first
Kyrie is very often the same as the Ite missa est or
Benedicamus Domino, as in festis dupl., de Beata and
the like. Whilst the Choir is singing the last Kyrie,
the Celebrant goes to the middle of the altar, and the
Kyrie 1 ) concluded intones the Hymn of the Angels, 2 ) or
Gloria according to the rank of the Feast.

J ) See Ccerem. Episc. Lib. II. Cap. VIII. par. 37, 38 & 39.

*) The Text of the Gloria as that of the Kyrie originated in the
Greek Church and at first was sung in Eome only at the first Mass
of Christmas Day.

105

III. The Gloria. The Priest sings the words "Gloria
in excelsis Deo" and the Choir do not repeat these words
but follow on with the words "Et in terra pax" 1 ) and
sing all 2 ) the words right through to the end.

The following are the various Intonations to be used
by the Celebrant according to the rank of the Festival.

Toni „Gloria in excelsis Deo".
1) In Festis solemnibus et duplicibus.

cclf f

gfe

$=*$■

:p*

G16 - ri - a in ex-cel-sis De - o.
In this Intonation there is a fall of semitone from
the syllable a to in\ consequently it is a mistake to sing
in to the note fa.

2) In Missis B. Marice, also in Votive Masses of
the B. Y. M., on Christmas Day, Corpus Christi, during
their octaves, and whenever the Prcefatio B. V. M. or de
Nativitate is to be sung. 3 )

gagfg g g g ab_c ag efg g

^ =*g<^=*

G16 - ri - a in ex - eel - sis De - o.

The full tone Sol-fa (g-f), and the Semitone mi-fa
(e-f) should be well fixed on the ear.

3) In Dominicis, festis semiduplicibus, et infra Octavas,
qace non sunt B. Marice.

dgfefg fe d e f e d

^—j *g — *— w= ^i

G16

ri - a in ex-cel-sis De-o.

*) It is consequently unrubrical for the choir at High Mass or
Missa Cantata to repeat the words Gloria &c, though in most modern
concerted Masses, this is constantly done.

2 ) S. B. C. 5. Julii 1631. The Ccerem. Episc. in I. Book, chap. 28,
par. 9, permits the alternate playing of the organ provided that the

verses not sung he recited submissa voce.
3 ) S. E. C. 25. May 1877.

106

4) In Festis simplicibus. 1 )

G16 - ri - a in ex- eel -sis De - o.
The minor third mi-sol (e-g) should never be sung
as if major (e-##).

The Gloria is not sung on the Sundays of Lent and
Advent.

CHAPTER 24 th .
THE CHANTS FOR THE PRAYERS.
When the Gloria is terminated (or according to
season after the ninth Kyrie) the Celebrant (Priest)
sings Dominus vobiscum, (Bishop) Pax vobis and the
Choir answers JEt cum spiritu tuo. Dominus vobiscum or
Pax vobis should always be sung on one note without
any inflection thus:

~f. Dö-mi-nus vo-bis-cum. 3$. Et cum spi T ri-tu tu - o.

f. Pax vo-bis.

This is immediately followed by the principal prayer
of the day, the first of the three Collects, 2 ) with the
response, Amen.

The present Chapter is but a translation of the pre-
scribed Toni Orationum contained in the official Directo-
rium Chori and the typical edition of the Ccerem. Episc.
(I. Book, chap. 27).

The prayers may be sung in three ways in Tonus
festivus, simplex ferialis and ferialis.

*) This is also used in Votive Masses de Angelis, in Masses pro
parvulis defunctis, and on the Ferias of Paschal time, when de ea.
Baini mentions that the praxis in the Pontifical chapel is, on all oc-
casions, to use the solemn Intonation, N° 1.

2 ) Colligere plebem was the usual expression for a liturgical func-
tion in presence of the faithful. The second occurs super oblata, after
the Offertorium and introducing the Preface, and partly said in secret;
the third is sung after the Communion (post communionem).

107

1. Tonus festivus vel solemnis.

The Prayers should be sung in Festive tone, quando
officium est duplex, (I. II cl, maj., min.) vel semiduplex,
vel de Dominica, in Matutinis, Missis 1 ) et Vesper is.
His exceptis semper dicuntur in Tono feriali.

This festive tone is monotonic admitting of two in-
flections or "Accents;" the l Ht fa-mi-re-fa called the pun-
ctum principale; the 2 nd fa-mi, called the semipunctum.
The punctum principale is employed at that break in the
prayer, where the sense of the words marks off a section
or clause; in other words, where a colon occurs. This
inflection should always be sung with emphasis, and
rather slowly.

The second inflection the semipunctum, is used in
the second part or section of the prayer, usually indicated
by a semicolon or comma. When a prayer is so short
that both inflections cannot be introduced without destroy-
ing the sense, the semipunctum is omitted. The semi-
punctum should never be sung before the punctum in the
body of the prayer; the punctum always comes first;
e. g. In the Prayer Deus, qui nos conspicis, on the Feast
of St. Calixtus, 14. October, the punctum principale falls
on the word deficere, and then the semipunctum is not
used. The same occurs on the 29 th of November and
elsewhere.

The punctum and semipunctum are used only once in
each prayer, however many the clauses. This rule should
be especially borne in mind in the protracted prayers
of some new Feasts. At the close of the prayer, the
accented syllable, (not the final syllable) of the last word,
should be held out, by dwelling on the vowel; and a
short pause made between it and the closing formula.

*) Etiam in Laudibus et Missis votivis sol em nib us (ob causam
qravem et publicam, et frequentiam populij.

108

When the prayer closes with Per Dominum, and Per
eumdem Dominum, the semipunctum comes first and falls
on tuum, the punctum principale last and falls on Sancti
Deus. In the conclusion Qui tecum vivit, or Qui vivis, the
semipunctum is altogether omitted, and only the punctum
used on Sancti Deus.

If several prayers are to be sung sub unica conclu-
sione, each one has its punctum, and semipunctum at the
places indicated.

The response Amen should be sung on one and the

same note, ^5=^=3-
Amen.

Examples of prayers in the Festive tone.

(In ritu dupl. aut semidiipl.)

J^EEEi

O-re-mus. Deus, qui hodiernam diem Apostolörum

F E D F

;Ie*eI3

tuörum Petri et Pauli mar-ty - ri -.0 con-se-cra-sti:

F E

^El-

da Ecclesise tuse eörum in omnibus sequi prse-ce-ptum:

^—mm

ü— ■ ■ ■ 1 — *-

-w ■ w-t-

l i '

-J '

per quos religiönis sumpsit ex-or-di-um. Per Do-mi-num

F E

*F*E=^E=%

«=q=fc*

nostrum Je - sum Christum Fi - li - um tu - um : Qui te-cum

F E D F

$= ^±="=: ^— ■=febfc ±zq = ±z^^

vi-vit et regnat in u-ni-ta-te Spi-ri-tus sancti De -us,

$=§:

^^3=^=3=0

per o-mni - a sse - cu - la sse - cu - 16 - rum. A-men.

109

2. Tonus simplex ferialis.

The prayers in this tone , also called Tonus ferialis
misses, are sung without any inflection whatever, and are
purely Monotonie. Where a punctum or semipunctum
would be used in the festive tone, here a pausa or
suspirium is substituted. There is no need of giving an
example of this intonation as all the syllables are sung
| to the same note. The Tonus simplex ferialis is used:
1) in Festis simplicibus and cliebus ferialibus\ 2) in Missis
Defunctorum\ 3) for all the prayers at the blessing of
Candles and Palms (Candlemas Day and Palm Sunday),
which close with, Qui tecum vivit, Per Dominum no-
strum de, or clausula major; 4) for the prayer Deus a
quo et Judas, on Good Friday, as well as the omnipotent
immediately following, and the Libera nos after the Pater
noster\ 7) for the prayers that occur before the Mass on
Holy Saturday and Vigil of Pentecost, at the end of the
Prophecies, and at the blessing of the Water; 1 ) 6) for
all the prayers of the Officium, Defunctorum, of the
Litanies, Processions &c. if they terminate with the clau-
sula major; as for example, on All Souls Day, and the
Rogation Days. In a word the Tonus simplex is to be
used whenever we have the clausula major and the Tonus
solemnis not prescribed.

3. Tonus ferialis.

In this form of Intonation, all the words of the
prayer are, as in the previous case, sung to one note,
except the last word and the ending or close; 2 ) where
the voice falls a minor third.

1 ) The prayers at the blessing of the fire are simply read, not
chanted.

2 ) The ending of prayers in these cases, where the ferial intonation
should be used, is always: Per Christum Dominum nostrum, or Per
eumdem Christum Dominum nostrum, or Qui vivis et regnas in scecula
sceculorum, and is called the clausula minor.

Example of the Tonus ferialis.

Concede, misericors Deus, fragilitäti nostrse presidium: |
ut qui sanctse Dei Genitricis memöriam ägimus, | inter-
cessiönis ejus auxilio | a nostris iniquitätibus

re-sur-gä-mus. Per e - um- dem Christum Do- mi- num.

no-strum. 1^. A- men.

This Intonation is used: 1) With the prayers sung
after the four Anthews of the B. Y. M. 2) For the prayer
Dirigere at Prime. 3) In the Office of the Dead, at
Vespers (Matins), Lauds, Libera, when the clausula minor
is annexed. 4) For the prayers after the Litanies with
clausula minor. 5) At the Asperges or Vidi aquam on
Sundays. 6) After the Mandatum on Holy Thursdays.
7) Before and after the blessing of the candles, (Feast
of the Purification) ashes, and Palms when the prayers
close with the clausula minor; and at Benediction, or
expositio Ss. Sacramenti, out of Mass time, when the
prayers are terminated by the clausula minor. When
several prayers are sung in succession in Tono feriali,
then this inflection of the minor Third is only made on
the last word of the last prayer. The Ccerem. Episc.
admonishes: Begulare autem est, ut in voce gravi et com-
petenti, interposita aliqua mora in fine cujuslibet clausula,
et prcesertim in clausula finali, cum decor e et gravitate
recitentur orationes.

OBSERVATION I. Before the seven prayers of
Good Friday, after the Prophecies on Holy Saturday, at
the blessing of candles on the 2 nd of February (if after
Septuagesima), and in the Masses of Quarter tense extra
tempus pasch. the following is sung by the Celebrant,
Deacon and Subdeacon.

Ill

Sacerdos. Diacoiius. Subdiaconus.

D CD A C D E D A CD

O - re-mus. Fle-cta-mus ge-nu - a. Le - vä - te.

The full tone D-C, and the minor third A-C, should
be well practised; and the fourth (P-C) should never be
sung.

OBSERVATION II. At the Oratio super populum,
(cantata Post-communione in missa deferia temp. Quadrag.)
the Deacon sings after the Oremus of the Celebrant.

Hu- mi - li - ä - te cä - pi - ta vestra De - o.

OBSERVATION III. On Good Friday the prayers
commencing with Oremus, are sung to a peculiar intona-
tion, which in the official edition of the Offic. Hebdom.
sanctce is given for each prayer, but here it will be suf-
ficient to give one, as they are all sung in the same way.

I. Oratio. p E D E

Oremus, dilectissimi nobis | pro Ecclesia sancta De - i:

ut e - am Deus et Dns noster pacificäre |

adunäre, et custodire dignetur toto or-be ter-

jfe=ppM=p=j=q — *— *- JB:====izi?=H= i :=: » pi<4 1

ra-rum: sub-ji- ci - ens ei principätus, et po-te-stä-tes:

detque nobis quietam et tranquillam vi-tam de-genti-bus,
E C D E

glorificäre Deum Patrem omni-po - tentem. 0- re-mus, etc.

See Observation L

112

The prayer immediately following is then sung in
Tono simplici feriali, on the one note D.

The 4 th prayer pro Bomano Imperatore is omitted
ob sublatum Momanum Imperium. ! )

CHAPTER 25 th .
FROM THE EPISTLE TO THE PREFACE.

I. The Epistle is sung on one note without any change
or inflection; 2 ) except, before a mark of interrogation,
where the accentus inter rogativus is introduced. This
inflection is made by falling a semitone, and then return-
ing to the reciting note. If the sentence close with a
monosyllable, the inflection is made on it; if with a word
of many syllables, the voice falls the semitone on the
accented syllable of such word; e. g.

Tonus Epistolae.

-E|— ■-- Mhr-M- f l * n

Le-cti-o li-bri sa-pi-en-ti- se. Quis est hie et laudäbi-

Quid igitur
Mulierem fortem quis

Interrogate.

£ :

3e*Ez1e>

mus e - urn? Dedit illi coram prsecepta, et legem vitse

lex?
in-veni-et?

Finis. Slowly and well sustained.

a=£

et di-sci-pli-nse.

r ) Inter ceteras orationes in Missa Prcesanctificatorum minime decan-
tari 'potest particularis oratio pro Episcopo; alia vero particularis pro suo
Rege substituens illi pro Romanorum Imperatore in Missali appositce, sine
approbatione ac apostolica venia dici non licet. S. B,. C. 11. Sept. 1874.

2 ) If assistant ministers are wanting, the Celebrant sings both
Epistle and Gospel, but is recommended to sing the Epistle on a lower
tone to that of the prayers preceding. By a recent Decree it is per-
mitted to read the Epistle in a Missa Cantata.

113

IL After the Epistle or Lesson, comes the Gradual
which in earlier times was sung by a Deacon, but since
Gregory the Great's time by one of the Cantores. 1 ) This
for the most part is sung to a prolonged melody, and
frequently touches the extreme limits of the Gregorian
compass. Two chanters intone the Gradual, that is, sing
the first word or words until they meet the double bar
j or line drawn across the stave =|[==; then the full choir
joins in and sings down to the J or Gradual-verse, which
is sung by the chanters only. Should the Gradual be
followed, as is mostly the case, by two Alleluias and a
verse of a psalm; then the Chanters sing the first Alleluia
down to the neuma 2 ) or sigrizgE; the Choir repeats the
same Alleluia, and continues the neuma following, but
only on the vowel a. Then the Chanters intone the
verse down to the sign EpE, and the Choir continues it
to the end; — the Chanters repeat the Alleluia to the
neuma; the Choir falls in and sings the neuma only, on
the vowel a. From Septuagesima, instead of the double
Alleluia and verse, the Tract should be sung; each verse
of which is intoned by the Chanters, and continued by
the Choir. A recitation in chanting tone is permitted.

*) The typical edition of the Co?rem. Episc. permits the organ to
play altematim after the Epistle, provided the Text not sung be
recited. Other Decrees of the Sacred Congregation on this point are:

1) Turrit. An in celebratione solemni Missce Defunctorum possit ali-
quid brevitatis causa omitti de eo, quod notatur in Graduali? Et S. B.C.
resp. nihil omittendum, sed Missam esse cantandam prout jacet in Missali.
Die 5. Julii 1631 ad 5.

2) Conimbricen. Dub. An in Missa Conventuali cani semper debeant
Gloria, Credo, totum Gr aduale, Offertorium, Prcefatio et Pater noster?
Affirmative juxta prcescriptum Cceremonialis Episcoporum et amplius. Die
14. Aprilis 1753 ad 2.

3) S. Marci. Tr actum integre canendum, quum Organum non pul-
satur. Die 7. Sept. 1861 ad 15.

2 ) We have already explained the various significations of the
word neuma. Here it is used for the group of notes sung to the final
) vowel of the word Alleluia, by way of prolonged jubilation.

Magister Choralis. O

114

In Paschal Time the Gradual is omitted, and only th<
Alleluias and verse sung, in the manner just described;
but the verse is followed immediately by a new special
Alleluia and a second verse. This special Alleluia is intoned
by the Chanters down to the neuma, or sign EpE, the
Choir does not repeat it but vocalizes the neuma to the
vowel a\ then the Chanters intone the verse as before,
and the special Alleluia is repeated with neuma.

The Alleluia and verse differ in the character of the
melody, and mostly in the modus, from the Gradual to
which they may be annexed.

"The last syllable of the last Alleluia by being broken
"up into several notes, is held out in a long protracted
"chant . . . This prolongation of the Alleluia was called
"Sequence . . . Later on however, words appropriate to
"the Festival were supplied to this protracted chant, to
"which the name Sequence was restricted ... By degrees
"every Sunday and Festival had its proper Sequence,
"until the correction of the Missal, when only four were
"retained in use." 1 )

The Sequences in earlier times were also called
Prosce\ some of them were composed by NotJcer Balbulus
(A. D. 912). Pre-tridentine Missals have as many as one
hundred such; however, the general Reform of the Missal
ordered by Pius V., eliminated all but the five 2 ) best
and most beautiful.

2 ) Amberger, Pastoraltheologie. II. Vol. p. 97.

2 ) These five are : Victimce Taschali Landes, of Wipo (11 th century)
for Easter; Veni Sancte Spiritus, (11 th cent. [?]) for Pentecost. Lauda
Sion, of St. Thomas of Aqnin (13 th century) for Corpus Christi; and
the Stabat mater dolorosa of Jacopone (end of 13 th cent.) for the Seven
Dolours of the B. V. M. The Sequence Dies irce may not be classed
with the above; it is proper to the Mass for the Dead. As the
last verse of the Dies irce contains a prayer for the departed, it must
always be sung. The descnptive or dramatic verses may be omitted.
Schubiger' s work: u Die Sängerschule von St. Gallen" affords a great
deal of information regarding the Sequences.

115

These truly divine poems are wedded to equally
divine melodies.

III. The Gospel admits of three inflections: 1) before
a mark of interrogation, 2) before a full stop, and 3) at
the termination.

Before a mark of interrogation, the voice falls from
j the reciting note half a tone, Do-Si, and returns imme-
diately to the same note as in the Epistle; before a period
or full stop, it falls a minor third, — Do-La, and returns
at once to the reciting note Do, without any intermediate
Si. The inflection should not be made later than the
fourth syllable before the period, nor sooner than the
sixth last syllable; 1 ) the voice falls the minor third, and
then returns to the reciting note, but with an inter-
mediate Si, and these notes should be sung slowly and
impressively. If the sentence closes with a monosyllable
or indeclinable Hebrew word, the inflection should be
made on the second last syllable.

Tonus Evangelii.

y. Do-mi -nus vo-bis-cum. 1$. Et cum spi-ri - tu tu - o.

y. Sequentia sancti Evangelii se-cun-dum Matthge-um,
" " " " Jo-an-nem,

1$. Gloria ti - bi, Domi-ne.

Initium. Interrogatio.

i — B — a — i — i — h-jE — *■*— " w — ^

se - cün-dum Marcum. Quid ergo erit no -bis?

Lu-cam. Nonne decern mundäti sunt?

*) The Direct. Chori remarks: non fit depressio vocis a fa ad re
(here it is Do-La, same interval as Fa-Re, F-D) ante 6 syllabam . . .
', nee post quartam.

116

Mediatio communis.

E^^EEEEEE*

Hi autem qui portä-bant ste-te-runt. Ille autem dixit:

Mediatio in monosyllabis. a he Finalis.

Quia Prophe-ta est. Et vitam seternam pos - si - de - bit.
Filii A-bra-ham. Et qui se humiliat ex - al-tabi-tur.

Non potest meus es-se di-sci-pulus.

OBSERVATION. The Passion of our Lord, accord-
ing to the four Evangelists, is sung in Holy Week in a
peculiar manner. Three Priests or Deacons, 1 ) divide the
Text between them in such a way, that one chants the
words spoken by Our Saviour, another the narrative of
the Evangelist, and the third the words spoken by other
individuals, such as Peter, Pilate &c. the Jews or the
Synagogue. In the Missal these three divisions are marked
thus, X (Christus), E ( Evangelist a) , T (Turba), or *
(Christus), C (cantor or chronista), S (succentor or synagoga),
or S (Salvator), E (Evangelist a), Ch (Chorus), or finally
B (vox bassa, Christus) M. (v. media, Evang.), A. (v. alta,
the Turba). Those passages in which a multitude or
number of individuals are represented speaking, may be
sung by a special choir to the harmonised arrangement
of vittoria, or Suriano, or other such composers.

William Durandus Bishop of Menda, who died in
Eome on the 1 st of November 1296, in his Bationale Divin,
Offic. lib. 2. cap. de fer. 2. post Dominic, in ramis pal-
marum, testifies that even at that remote period, u non
legitur tota passio sub tono evangelii, sed cantus verborum
Christi dulcius moderantur; evangelistm verba in tono ev-
angelii proferuntur; verba vero impiissimorum judceorum
clamose, et cum asperitate vocis."

(See Baini, Vol. II p. 110.)

l ) Or the Celebrant as Christus, Deacon and Subdeacon (if he have
the orders of a Deacon) the other parts.

117

The Tonus passionis is as follows. 1 )

=13

^^E^^E^^^iE^^^

C Pässi - o Döini-ni nostri Je-su Christi se-ciindum Matthse-um.

>{« Tu di - - eis. S Cru - ci - fi - ga - tur.

IV. After the Gospel the Celebrant intones the Credo
in imum Deum, 2 ) if the Rubric should prescribe it, and
the Choir answers, commencing with the word Patrem.

The official edition of the Gradual contains, besides
the first form of chanting the Credo, usually found in
most Graduals, three others written in the same Tone
or Mode (IV.). iVny one of these can be selected by the
Choir. 3 ) The intonation of the Credo is as follows:

G E F E D Ga a

Cre-do in u-numDe - urn,

The Choir immediately follows with the words Patrem
omnipotentem, and sings all the words 4 ) without abbre-
viation to the end.

*) A very useful edition of the four passions in ML was brought
out in Eome 1838 by Alfieri "Cantus passionis" This has been repro-
duced by Pustet in Ratisbon.

2 ) The singing of the Credo began in the Eonian Liturgy in the
first half of the 11 th century. Berno of Reichenau relates as an eye-
witness that the Emperor Henry II. induced Benedict VIII. (1012 to
1024) to introduce this custom (S. Patrolog. Migne, vol. 142, p. 1060.)

3 ) For the same purpose the arrangements of the melody made
by Ludovico Viadana can be used. The author of this Manual edited
twenty of these in Gregorian and modern notation, published by Pustet,
and Joseph Hanisch wrote an Organ accompaniment which may be
had from the same publisher.

4 ) The typical edition of the Ccerem. Episc. (28. chap. 1 st Book,
par. 10) expressly observes; "In the singing of the Credo the Organ
must not play the alternate verses, but all the Text must be sung."

The Decrees of Councils on this point are numerous; and there
is quite a series of Decrees of the Sacred Congregation bearing on
the same e. g. — An sit toleranda consuetudo ut Symbolmn sub organo
moduletur? Resp. Abusum hiiusmodi minime tolerandum, sed omnino per

118

V. As soon as the Credo is terminated, the Celebrant
sings Dominus vobiscum, and the Choir responds. The
Celebrant then introduces the Offertory by Oremus, as
follows :

^q z ±zBz = ="=q=^ = fc=i=z=q =g=iM=q

y. Dominus vo-biscum. I£. Et cum spi-ri-tu tu- o. O-remus.

The Offertory consists of an extract from the Psalms
or some other portion of Scripture, and all the Offertories
assigned to each day and Feast are contained in the
Graduate. Like the Introit, it is intoned by one, two or
three and four Chanters according to circumstances, and
then continued to the end by the full Choir. In Paschal
time an Alleluia is added, which if not printed after the
Offertory of the day, may be found at the end of the
Graduate.

OBSERVATION. A custom very generally prevails
of singing a Motet instead of the Offertory, or after the
Offertory and before the Preface. The first mentioned
practice is not allowable, as the Offertory prescribed for
the day should be sung and may not be substituted. If
time however permit, it is allowable after the Offertory
either to repeat it, or to sing a Motet suitable to the
Festival. [Thus, if it be a Feast of the B. Sacrament,
an salutaris or Ave verum &c, if of the B. V. M. an
Ave Maria, Alma Virgo &c; but we fail to see the ap-
propriateness of the Quis est homo on Christmas Day, or
of the Inflammatus on Easter Sunday. 1 )]

Episcopum provideri, ut integre intelligibili voce symbolumdecantetur, ita
ut a populo distincte audiri valeat. Die 10. Mart. 1657. — An cum
dicitur Symbolum in Missa sit intermiscendum Organum? Resp. Symbo-
lum integre canendum etiamsi pulsetur Organum. — Die 7. Sept. 1861.
■ — An sonus Organi toto rigore possit intermisceri cum cantu, quando in
Missa solemni seu Pontificali integrum Symbolum in notis seu in cantu
gregoriano et firmo cantatur in chore- ? E,esp. Affirmative. Die 22. Mart. 1862.
*) Dub. Potestne tolerari praxis, quod in Missa solemni, praeter can-
turn ipsius Missce, cantetur in Choro a musicis aliqua laus vulgo dicta
aria, sermone vernaculo? S. E. C. respondit 22. Martii 1862: Negative,
et abusum eliminandum.

119

CHAPTER 26 th .
THE PREFACE. — SOLEMN INTONATION.

The Preface, as its name indicates, is an introduction
to the Canon of the Mass. Its commences with an anti-
phonal chant between Priest and People (choir). Both
text and melody are of very ancient date.

The Intonation or Chant of the Preface is of two
kinds: Solemn (cantus solemnis or festivus), and Ferial
(cantus ferialis).

The Missal contains eleven Prefaces, differing some-
what in text, according to the character of the season or
Festival; viz for Christmas, Epiphany, Lent, Passion-tide,
Plaster, Ascension, Pentecost and Trinity (which serves
also for Sundays throughout the year) , for Feasts of the
B. V. M., of the Apostles, and the Prcefatio communis or
Preface generally used, when no special preface is pre-
scribed.

We give here the Chant for all 1 ) the Prefaces, in
so far as the text varies. The learner should be care-
ful to sing the first interval, a minor third (A-C, La-Do)
correctly; and the recurring full tone from D to C, should
not be diminished by sharpening the C.

The Celebrant should also be careful not to intone
the Per omnia, at too high a pitch; as by reason of the
continuous ascent of the melody (II. Tone) it reaches to
a minor sixth from the initial note A; and if this be
taken too high, the falling and weakening of the voice
during the course of the Chant, will lead to untunefulness
and precipitation ; neither should he make the first inter-

l ) The Prefaces for the blessing- of Palms, and of the Baptismal
Pont, can be learned from the Missal. The Prefaces given here are
taken from the most recent Eoman edition of the Missal approved
of by the Sacred Congregation of Kites; and are a faithful reprint
of the work compiled by Ghiidetti: Cantus Prcefationum. Romce. Jac.
Tornerii. 1588.

120

val a fourth G-C, as is too commonly done. The accented
syllables should be specially attended to.

1. De Nativitate.

From Christmas to Epiphany (except the Octave Day of St. John the
Evangelist), on the Purification, on Corpus Christi and during its Octave
(if no Festival occur having a proper Preface), on the Feast of the Trans-
figuration, and of the Holy Name, the following Preface is sung.

A C D E

: 1 :

3=5

*=f*

: 1 :

Per ö-mni - a see - cu - la sse - cu - 16 - rum. I£. A-men.

-&=$L

f. Dö-mi-nus vo -bis -cum. I£. Et cum spi-ri-tu tu - o.

def e de de e def e e de de

^=i^»=i1-^i =W=iNl

:*=*:

f. Sur - sum cor - da. 1$. Ha - be - mus ad Do - mi - num.

d dc e def e e d de cd e de d

^e£

?s^g^3

f*==m

*f : . Grä-ti - as a - gä-mus Dö-mi-no De - o no-stro.

-*~|-

I£. Di-gnum et ju-stum est. Ve-re dignum et ju-stum

$bee

t^$

fc±

est, ae-quum et sa-lu- tä-re, nos ti-bi semper, et

*=*=$ -* ■ W =r^=g=pJ| rrfcj:

u - bi - que grä - ti - as ä - ge-re , Dö-mi-ne sancte , Pa-ter

£b£

o-mni-po-tens se-ter-ne De - us. Qui -a per in-car-

ti:

na-ti Ver-bi my-ste-ri-um, no-va men-tis nostrae 6-cu-

#C3Ä

lis luxtu-se ela-ri-tä-tis m-fül-sit: ut dumvi-si-bi-li-ter

121

feS

*=*

Ä=W=W=i=^g:

De -um cognö-sci-mus, per hunc in in-vi-si-bi-li-um a-mö-

ffc3fc!"=ÜÜ|=i=£=!

fcafcfc*

3 - » .*■■ »- ga g

rem ra-pi-ä-mur. Et id-e-0 cum Ange-lis et Archän-

fet

-M — * — ■-

S-E-5

*=Ä

Ep*

ge - lis, cum Thro-nis et Do-mi-na-ti - 6-ni-bus, cumque

jfc=q=fc=«=^

j^ 3S g ^ ! ^=gE li

-*— *-

o-mni mi - li - ti - a coe - le - stis ex - er - ci - tus , hymnum

glö-ri - se tu - se cä - ni-mus , si - ne fi - ne di- cen-tes.
2. De Epiphania.

On the Feast of the Epiphany and during the Octave.

Per omnia etc. Vere dignum et justum est, seqiium et sanitäre,
nos tibi semper et ubique grätias ägere, Dömine sancte, Pater omni-
potens, seterne Dens. (As at page 120.)

Qui - a, cum u - ni - ge - ni - tus tu - us in substan-ti - a

g=q=»

fc±*

:*=£

nostrse mor-ta - li - tä - tis ap-pa-ru-it, nova nos immor-

ta-li-ta-tis su-se lu-ce re-pa-ra-vit. Etid-e-oetc.
3. In Quadragesima.

From the first Sunday of Lent (Dom. I. Quadrag.), to Passion-Sunday T
the following Preface is sung on all Feasts (duplex and semiduplex), which
have no proper Preface:

Per omnia etc. Vere dignum et justnm est, seqiium et sanitäre,
nos tibi semper et iibiqne grätias ägere, Dömine sancte, Pater oinni-
potens, aeterne Dens. (See page 120.)

$=,:

tE»E3

*=*

<j=j^=*= pc

Qui cor-po -rä - li je - jü - ni - o vi - ti - a cöinpri-mis,

_!-

122

^=p jp^=)i=N=^=i=q :

: q=*=^ =3 p*==^

mentem e-le-vas, vir -tu- tern lar-gi-ris, et prse-mi - a:

s=*

sis

-*— t-

Per Chri-stum Do-mi-num nostrum. Per quem ma -je-

to£

SE*eEe3=P^^«^

-■—•—»-

stä-tem tu - am lau-dant An-ge - li, ad-6-rant Domi-na-

ti - 6-nes, tre-munt po-te-sta-tes. Cce-li cos-lo-rumque

i£Pt±5

g*=K=>C3t

vir-tü-tes, ac be-ä-ta Se-ra-phim, so - ci - a ex-sul-ta-

*=at

s=*

ti- 6 -ne con-ce-lebrant. Cum qui-bus et nostras vo-ces,

MeS

*3EE*E*EL

ut ad-mit-ti jü-be-as, de -pre - cä-mur, süp-pli-ci

3i=«=«:

fte= ^— H — * g| =^£

con-fes-si - 6 - ne di-cen-tes.

4. De Cruce.

On Passion and Palm-Sunday, on Holy Thursday, and on all Feasts,
(duplex and semid.) not having a special Preface, which may be celebrated
during Passion time; also on the Feasts of the Holy Cross, of the Sacred
Heart, and of the Precious Blood, the following is sung:

Per omnia etc. Vere dignum et justum est, sequum et salutäre,
nos tibi semper et ubique grätias ägere, Dömine sancte, Pater onmi-
potens, seterne Deus. (See page 120.)

*3£z*=5

*—*-

Qui sa- lu- tern hu-ma-ni ge-ne-ris in li-gno Cru-cis

con-sti - tu - i - sti : ut un-de mors o - ri - e - bä - tur, inde

123

$=fh=ifc*3J=!=^

^ ==^=^=^=ic|^=fc^

vi-ta re-sür-ge-ret: et qui in li-gno vin-ce-bat, in ligno

:fj=^p*=t*= ^=K=fr =--i=*— ^— »ff

quoque vin-ce-re-tur: Per Christum Do-mi-num nostrum.

Per quern etc.

5. In die Paschse.

From Easter Saturday to Saturday in Albis, on Sundays till Ascension,
and on all Feasts (dupl. and semid.) during this time, not having a proper
Preface, the following is sung:

Per omnia ssecula etc. (See page 120.)

r^^E^E^E^^E^^

t«FSPt5

Ve-re dignum et ju-stum est, aequnm et sa-lu-tä-re:

^fcJ^-fc-i^ HCiW

Te qui-dem D6mi-ne omni tempo-re, sed in hac po-tis-

^EEiE*

*— M— W— *-

JÖ

si- mum di - e *) glo-ri - 6 - si - us prse - di - cä - re, cum Pascha

§£3

:*=*

fttrH*:

fd^E^

*=■:

nostrum im-mo - la - tus est Chri-stus. Ipse e-nim ve-rus

)iz=i^=zKz=W:

p-Ht

K=W

est A-gnus, qui abs-tu - lit pec - ca - ta mun-di. Qui

mortem nostram mo - ri - en-do de-strü-xit, et vi - tarn re-

3£

sur-gen-do re - pa - rä - vit. Et ideo etc.
6. De Ascensione.

From Ascension Thursday to the Vigil of Pentecost (exclusive) and on
all intervening Feasts, not having a special Preface, the following is sung:

*) Sabbato s.: in hac potissimum node; per Oct, Pasckse, ut supra;
Dom. in Albis ac deinceps: in hoc potissimum glonosius . . .

124

Per omnia etc. Vere dignum et justum est, sequum et sanitäre,
nos tibi semper et ubique grätias ägere, Dömine sancte, Pater omni-
potens, seterne Deus. (See page 120.)

w*=*~-

■ ■

Per Chri-stum Do - mi-num nostrum. Qui post re-surre-

■ K m

5=t

cti - 6-nem su-am ö-nini-bus di-sci-pu-lis su-is ma-ni-

^EEE^E*

ÖE3

:*=i:

festus ap-pä-ru-it, et ipsis cer-nen-ti-bus est e-le-vä-tus
in coe-lum, ut nos di-vi-ni-tä-tis su-se tri-bü-e-ret es-

se par-ti- ci-pes. Et ideo etc.

7. De Pentecoste.

From the Vigil of Pentecost to the following Saturday, (inclusive):

Per omnia etc. Vere dignum et justum est, sequum et salutäre,
nos tibi semper et ubique grätias ägere, Dömine sancte, Pater omni-
potens, seterne Deus. (See page 120.)

*■?;

-■— ■

Per Chri - stum Do - mi-num no- strum. Qui a-scendens

»eHeSe*

:i=i:

-*— N

* — J^-H- fr— »E p<= j:=i=i:

su-per omnes coe-los, sedensque ad dex-te-ram tu - am pro-

*=m

jacipii

•t»y±=s

mis-suin Spi -ri- tum sanctum ho-di- er-na di-e in fi-

ßööööt

*o*

»5^=SEiEEgE^E^3E:t6Ei

li-os ad-o-pti-ö-nis ef-fu-dit. Quaprö-pter pro-fü-sis

?e«^^^fcÄf?=4

*— +

gäu-di - is, to-tus in orbe terrärum mun-dus exsül-tat. Sed

125

*EÖE*^

et su-pernse virtu-tes atque an-ge-li-cae Po-te-sta-tes,

hymnum glö-ri-se tu-se con-ci-nunt, si - ne fi-ne di-centes.
8. De SS. Trinitate.

On Trinity Sunday, and on all Sundays throughout the year not
having a special Preface.

Per omnia etc. Vere dignum et justum est, sequum et salutäre,
nos tibi semper et ubique grätias ägere, Dömiiie sancte, Pater omni-
potens, seterne Dens. (See page 120.)

*4e*E*eS

n— ■-

*=q=*j

Qui cum u-ni-ge-ni-to Fi-li-o tu-o, et Spi-ri-tu saucto,

^=ift

■ ^-m-n

IeseeoS

unus es De -us, u-nus es Dö-mi-nus; non in u-ni - us

$ -J L_ *— * zz^=W^Mtf^-1C=p=li==^<=^=W

BOt

p*=c

sin-gu-la-ri-tä-te per-sö-nse, sed in u-ni -us Tri-ni-tä-

* f^=s3 i=z=dq= *==s=3 =±=q=&=^++=±

te substan-ti-se. Quod e-nim de tu- a glö-ri-a, re-ve-

länte te cre-dimus, hoc de Fi-li-o tu - o, hoc de Spi-

^-^~N~p j=jp<=W=

ri-tu sancto, si-ne dif - fe-ren-ti - a dis-cre-ti - 6 - nis sen-

fr=jpf=i= ff

3^=1

ti-

mus

. ut

con

-fes-

si-

ö-ne ve-rse,

sem-pi ■

■ter-

nse-

que

~%m~

.Jt~. w~

-*-

-■-

-n

*m *M "M

-rtr

— *-

—*-

~1 _

■q m

■■■■

P "q

r i *

-1

De - i - tä-tis et in per-sö-nis pro-pri - e-tas, et in es-sen-

*=iz:W=W-*:

pw=*

ti-a ü-ni-tas, et in ma-jestä-te ad-o-re-tur se-quä-li-

126

iq=n— iE

*=*

tas. Quam laudant An-ge - li atque Archan-ge - li, Che-

:q— »= ftF=i^

H=*

> — pri

ru-bim quoque ac Se-ra-phim: qui non cessant cla-ma

3E*a§E33*Efp*

re quo - ti - di - e, u-na vo - ce di - cen-tes.
9. In Festis B. Mariae Virg.

On all Feasts of the B. V. M. (except the Purification, when the Pre-
face of the Nativity is used) and during their Octaves, and on other Feasts,
falling within these Octaves, that have no special Preface:

Per omnia etc. Vere dignum et justum est, sequum et sanitäre,
nos tibi semper et ubique grätias ägere, Dömine sancte, Pater omni-
potens, seterne Dens. (See page 120.)

-■— m— w— *— fr-

:■:

Et te in 1 )

j£

be - ä - tse Ma - ri - se semper Virgi-

^= *fr-*-*r *=*^-=+-=*=iß i

nis col-lau - da - re, be-ne-di-ce-re et prse - di - cä - re.

^^EE^E^

*—*-+

Quae et U-ni-ge-ni-tum tu-um san-cti Spi-ri-tus obum-

bra-ti-ö-ne con-ce-pit et virgi-ni-tä-tis glo-ri-a perma

ÖS

P-EsöEE^

nente, lu-men se-ternum mundo ef-fü-dit, Je -sum Chri

$=>

■5

stum D6-mi-num nostrum. Per quem. etc.

x ) On the Feast of the Annunciation, insert : in Annuntiatione, on
that of the Visitation: in Visitatione, on the Assumption : in Assumptione,
on the Nativity: in Nativitate, on the Presentation: in Presentation,
on the Immaculate Conception : in Conceptione Immaculata, on the Feast
ad Nives, of her name, and de Mercede: in Festivitate: on the Seven
Dolours: in Transfixione, on the Feast of Mount Carmel: in Commemo-
ratione, and on Rosary Sunday: in Solemnitate.

127

10. De Apostolis.

On Feasts of Apostles and Evangelists (except the Feast of St. John T
Evang.) and during their Octaves, and on Feasts within these Octaves not
having a proper Preface:

Per omnia etc. (See page 120.)

»=

|=M=*

*EÖ

Pi^^*^

Ve-re dignum et ju-stum est, sequum et sa-lu-tä-re:

Uses

■m — m—t-

^=55=^5

3ee*

Te Dömi-ne suppli-ci-ter ex-o - ra-re, ut gre-gem tu - um

^^^^

*=*■-

m=tt

3t=K

pastor se-terne non de-se-ras: sed per be-a-tos A-po-

^r: B=W ^ _ IL ^_M-^ =W=W=J-w=a _p^ H .-i.=i>p ¥ r^f

sto-los tu- os, conti-nu-a pro-te-cti-6 - ne cu-stö-di - as.

- ^*==*^=*=B=*=p =* i

:q=g=g=*

Ut i-is-dem re-ctö-ri-bus gu-ber-ne-tur, quos 6-pe-ris

*=■?

jk=lt

tu-i vi-cä-ri-os e- i-dem con-tu- li-sti prse-es-se

fa=i^-

pa-stö-res. Et ideo etc.

11. Prsefatio communis.

On all Feasts and during their Octaves, and on all Semidoubles having
no special Preface.

Per omnia etc. (See page 120.)

■A

Mzzzltz^ziB^

Ve-re dignum et ju-stum est, sequum et sa-lu-tä-re:

ff — b— n — «—a—*— w — w — nj — w

«=*:

|^a

nos ti - bi semper, et u - bi-que gra-ti - as ä - ge - re,

128

*e3ep^s^e

Dö-mi-ne sancte, Pa-ter omni-po-tens, se-teme De -us:

$=n — i/ei=M

■P

^Ö

Per Chri-stum Do - mi-num nostrum. Per quem etc.

CHAPTER 27 th .
THE PREFACE. — FERIAL INTONATIONS.

The Ferial form of the Preface differs from the
Festive form only in a more frequent syllabic recitation
of the Intervals. Two examples will be enough.

1. De Nativitate Domini.

For all Votive Masses of the most Holy Sacrament and of the Sacred
Name; also prescribed by the Sacred Congregation since 1868, for Votive
Masses on Thursdays throughout the year.

a c d e

-*— «-

:r-*-ftt

: 1 :

Per ö-mni-a sse-cu-la sse-cu-lo-rum. 1$. Amen. y.Dömi-nus

f e de de

g=iWg=Pg=§^&=:W g_J|=W=<=:!]^^^=J!SJ^^E

vo-bis-cum. I£. Et cum spi-ri-tu tu- o. f. Sursum cor-da.

fee dc fed

I — W~~W:

3C I

3$. Ha-be-mus ad Do - mi-num. f. Grä - ti - as a-.ga-mus

g= Jf

W=W:

Do -mi -no De - o nostro. 1$. Dignum et ju-stum est.

ifitdEj:

Ve-re dignum et ju-stum est, sequum et sa-lu-tä-re,

nos ti-bi semper, et u-bi-que gra-ti-as a-ge-re,

129

IPC

Do-mi-ne sancte, Pa-ter omni-po-tens, se-terne De-us.

K=C

OCX

Qui-a per incar-na-ti Ver-bi my-ste-n-um, no- va mentis

nostrae 6-cu-lis lux tu-se cla-ri-ta-tis in-fiil-sit: ut dum

*=*

X— *:

*=*

vi-si-bi-li-ter De- um cog-noscimus, per hunc in in-vi-si-

P=8=w^c ] -w= w — u

:J^ee£4

-W— *

bi-li-um a-mo-rem ra-pi-a-mur. Et id-e-0 cum An-

-*— ■-

■#— *-

ÜfEfcEE

ge-lis et Archän-ge-lis, cum Thro-nis et Do-mi-na-ti-6-

«3=^1

-*— *-

B=*

ni - bus, cumque omni mi - li - ti - a cce-lestis ex-er - ci-tus,

-m—*-

p pr=ipöq=3p*=q

hymnum glö-ri - se tu-ae ca-nimus, si-ne fi-ne di-centes.

The second Preface, In Quadragesima is used on all
Ferial Days from Ash-Wednesday until the Saturday be-
fore Passion Sunday, inclusive.

The third Preface, De Cruce is used from Passion
Sunday until Holy Thursday (exclusive), also at Private
Votive Masses of the Passion.

The fourth Preface, tempore paschali on Ferial Days
and Feasts ritu simplici from Low Sunday until Ascension.

The fifth Preface, de Ss. Trinitate at private Votive
Masses of the Holy Trinity.

The sixth, de Spiritu sancto at Votive Masses of the
Holy Ghost.

The seventh, de Beata Maria at Votive Masses of

the Blessed Virgin.

Magister Choralis.

130

The eighth, de Apostolis at Votive Masses of the
Apostles.

The ninth, Prcefatio communis, on simple Feasts and
Ferial Days having no proper Preface and at Masses for
the Dead.

Per omnia ssecula etc. (See page 128.)

«E

3E*=Sä

Ve-re dignum et justum est, sequum et sa- hi- tä-re,

-■— m- *- ■-

:*=*:

-*-*-+

nos ti-bi semper et u-bique gra-ti-as ä-ge-re, Dömine

fc*

-*— *-

sancte, Pa-ter omni-po-tens, 8e-terne De-us, per Christum

*=*

iq^I

^E?E^

SE^E?

Dömi-num nostrum. Per quern ma-jesta-tem tu-am laudant

fc=tpodfc=j

*=■=*

*==*:

»I

Ange-li, ad-ö-rantDomina-ti-ö-nes, tremunt Po-testä-tes.

Ü^t3?=-E!;

Coe - li co3 - lo - rümque Vir- tu - tes , ac be - ä - ta Se - ra

$zz^= ^=^ =N=W=N=W= >c=Hiz^—

*=*

S=*±

phim, so-ci-a exsul-ta-ti - 6-ne conce-le-brant. Cum quibus

^^^ffi^=fe

et nostras vo-ces, ut admit-ti jü-be-as, deprecämur, sup-

g3^(=W — H— Jt

EE^E

pli - ci con-fes- si -6-ne di - cen-tes.

The Sanctus, which is selected according to the season,
or rank of the Festival (see p. 115, Observ. III.) imme-.

131

diately follows the Preface. During the Elevation nothing
should be sung: — "silet chorus et adorat cum aliis."
The Organ however may play; yet in such a way as not
to distract, but rather help the devotion of the adoring
faithful. li Organum vero, si habetur, cum omni tunc melodia
et gravitate pulsandum est." (Cceremoniale JEpisc. lib. II
cap. viii. n. 70.)

After the Elevation the Benedictus should be sung:
— i( Cantari debet post elevationem/' (S. B. C 12. Nov. 1831.)
This rule certainly holds for Pontifical Masses, and for
others De Herdt says it is a praiseworthy custom; —
"laudabilis." However if the Sanctus and Benedictus should
both be sung before the Elevation, then it is allowed,
after the Elevation, to sing the Tantum ergo, or other
portion of a Hymn or Antiphon to the Blessed Sacra-
ment; provided however the words be not altered. 1 )

CHAPTER 28 th .
THE PATER NOSTER. — COMMUNION.

I. There are two intonations of the Pater noster, one
solemn, the other ferial. 2 )

*) The typical edition of the Cceremoniale Episcoporum (Lib. I.
cap. 28. par. 9) says: "In Missa solemni pulsatur [organum] alternatim
. . . ad Sanctus, ac deinceps usque ad Pater noster; sed ad elevationem
Ss. Sacramenti pulsatur organum graviori et dulciori sono: et post eleva-
tionem poterit immediate motettum aliquod opportunum cantari." Still
another Decree remains in force as given in the 2 nd book, 8 th chapter,
paragraphs 70 & 71 : — "Chorus prosequitur cantum usque ad Benedictus
qui venit exclusive ; quo finito, et non prius, elevatur Sacramentum. Tunc
silet Chorus, et cum aliis adorat. Organum vero, si habetur, cum omni
tunc melodia, et gravitate pulsandum est." "Elevato Sacramento, Chorus
prosequitur cantum Benedictus etc." The Celebrant therefore is bound
to wait and not commence the elevation until the Choir shall have
concluded the Hosanna. This pause when necessary can be best made
by prolonging the Memento for the living.

5 ) In the Bull: "Quo primum temp." Pius V. remarks (14 th July
1570) : "Quare abusus est, in Missa cantata legere tantum, quce juxta ritum,
modum et normam Missalis cantari debent, uti fit, quando Epistola vel
Prcefatio abrumpitur, cantus Pater noster omittitur vel truncatur etc."

132

1. Tonus festivus.

A C D E

i^^=!t±=3=*^

Per ömni-a ssecu-la sse-cu-16- rum. 1$. Amen. O-remus.

C D E

Prseceptis sa-lu-tä-ri-bus mö-ui-ti, et di-vi-na insti-tu-ti-

Extendit manus.

ö-ne forma -ti, au-de-mus di-ce-re. Pa-ter no-ster, qui

^^^EEäE^Et5E^Efc?EEsgEtfe!ES

es in co3-lis:Sancti-fi-ce-tur nomen tu -urn: Ad-ve-ni-at
regnum tu-um: Fi-at vo-liintas tu-a, sic-ut in cce-lo,

et in ter-ra. Panem nostrum quo-ti-di - ä-num da no-bis

iz=i| = w=NEJ^t^z^9zz^? = i = !^ = ttäzq

liö-di-e: Et dimitte no-bis de-bi-ta nostra, sic-ut et

^— w — * — *j — w— *■ — ■ — ■— T— *- n — ^— i= ^-^~ W— ■— *— f

nos dimit-timus de-bi-tö-ri-busnostris. Et ne nos in-du-

!J LjL_J£=g= y-^ ^

cas in ten-ta - ti - 6 - nem. 1$. Sed li-be-ra nos a ma-lo.
2. Tonus ferialis.

To be used on Simple Feasts, Ferials, and in Masses for the Dead. 1 )

'zj-vi^^

Per 6mni-a sse-cu-la sse-cu-16-rum. 1$. Amen. O-remus:

*) Also in Votive Masses of a private not solemn character.

133

«E

ft"

-■— ■-

ft.

-*— H-

:^ W- pt

:ft=H=H — W~r-

Prse-ce-ptis sa-lu-tä-ri-bus mo-ni-ti, et di-vi-na in-sti

Extendit manus.

3^0

i=c

tu - ti - 6 - ne for-ma - ti , au- de-mus di - ce - re. Pa - ter

jg jgjJEjEE* :

1=*

*=fti=*

no-ster, qui es in coe-lis: Sancti - fi-ce-tur nomen tu-um:

«e

ft=*

qpar

ft=5=£*Ü(

Adve-ni-at regnum tu-um: Fi-at voluntas tu -a, sic-ut in

^ £ ■ ±0 ^=111

C03-I0 et in ter-ra. Pa-nem nostrum quo-ti - di - a-nuni

3^3

Ti: * '.f\ -*±q*=*t

da no-bis hö-di- e: Et dimit-te no-bis de- bi-ta nostra,

*F*^

5=±=i=wz^=5

sic-ut et nos dimit-timus de-bi-to-ri-bus nostris. Et ne nos

-ftr-tr

üzzBzHützi:

:PP=W

in-dü-cas in tenta-ti - 6-nem. 1$. Sed li-be-ra nos a ma-lo.

The Pater noster is immediately followed by a short
prayer, recited submissa voce by the Celebrant, and then

Dextera tenens particulam super Calice, sinistra Calicem, dicit:

J5:

!=ffc=<c=i

Per 6-mni-a sse-cu-la sse-cu-16 -rum. 1$. A-men.

Cum ipsa particula signat ter super Calicem, dicens:

*=>

:i=»

r=g^=

«=T

Pax ^ D6-mi-ni sit ^ semper vo-bis Hh cum. 1$. Et cum

spi - ri - tu tu - o.

*=*

134

IL The Agnus Dei is repeated three times, con-
cluding the third time with Dona nobis pacem, instead
of Miserere nobis. In Gregorian Chant each repetition
has a melody of its own, which differs according to the
class of the Festival. (See Observation.)

Immediately after the communion of the chalice —
sumptio sanguinis, and before the first ablution, the Com-
munio should be commenced by the Choir. 1 ) This is a
short Antiphon usually taken from Holy Scripture, peculiar
to the festival like the Introit and Offertory, and it is in-
toned and sung according to the same rules. In Paschal
time an Alleluia is added, which if it do not occur in the
text, will be found at the end of the Gr aduale p. 72* (8 vo ed.)

OBSERVATION. "Si Communio in Missa solemni
distribuitur , Diaconus se constituit in cornu Epistolce vel
etiam descendit in planum ad cornu Epistolce, ubi, versus
celebrantem profunde inclinatus alta voce dicit:

*r* '■ I **~ ~ = — =i-

Confiteor Deo omnipo-ten-ti, beatae Marise semper

=P 1 ■ — h— I 1 ^^ ^ u m 1 5"! — ij:

Vir-gi-ni, beäto Michaeli Archän-ge - lo, beäto

-*F=i=f

Joänni Bapti-stse, Sanctis Apöstolis Petro et Paulo,

omnibus Sanctis et ti - bi, Pa - ter, qui-a peccävi ni-

■--■ ■ ■ n ■

3^0

mis co-gi-ta-ti-6-ne, ver-bo et ö-pe-re: me -a cul-pa,

x ) Quum pulsatur Organum in Missa cantata, Offertorium et Com-
munio submissa voce ab uno recitatur in Choro, vel nihil dicitur diebus
prcesertim ferialibus ? S. E. C. resp. 10. Jan. 1852. Did posse submissa
voce, sed non omitti. The Cceremoniale adds in Lib. II. cap. 8. par. 78.
"Episcopus legit Communionem, ex libro, quo?, etiam cantatur a choro post
Agnus Dei, postquam Episcopus sumpserit Communionem, et ea cantata, etc. ,T

135

^E3E^ÖEEi=5=£

me -a cul-pa, me -a mä-xi-ma cul-pa. Ideo precor beä-

tam Mariam semper Vir- gi-nem, beätum Michaelem

Arch-än-ge-lum, beätum Joännem Ba-pti-stam, sanctos

Apostolos Petrum et Paulum, omnes Sanctos, et te

pa-ter, oräre pro me ad Do- mi -num. De -urn nostrum. 1 )

. . . Diaconus respondet "Amen". Non impedit, quominus
in numerosa Communionis distributions cantetur Ps. aut
hymn, de Ss. Sacr. ad populum excitandum, movendum et
Icetificandum."

CHAPTER 29 th .
ITE MISSA EST. — BENEDICAMUS DOMINO.

After the Prayer, called the Post- Communion , and
the Dominus vobiscum immediately following, have been
chanted by the Celebrant, the Celebrant, (in Missa can-
tata,) or the Deacon, (in Missa solemnly) sings the Ite
Missa est, or Benedicamus Domino, to one or other of
the following formulas; the Choir to answer Deo gratias
in the same notes. 2 )

1. From Easter Saturday to Low Sunday (exclusive).
Mod. Till. g a g f g a a gcbag fga ag

I-te Mis-sa est, al-le-lü-ja, al-le - lii - ja.
Ifc. De - o grä - ti - as, „ „ „ „

1 ) This form of chant is also employed when the Confiteor is sung
at Pontifical Mass, where an Indulgence is proclaimed.

2 ) "Laudandus est mos, quo chorus eodem tono respondet Deo eratias."
| Vid. Grad. Rom.

136

2. In Festis solemnibus.
cbgagef g gdedc Mod. XI (XIII).

$^*tfc^p^^*s^[&^^ä=

I - te e e e e Mis-sa est.

1$. De - o o o o o grä - ti - as.

According to the Acta Ephemerides , T. III. p. 367,
6. Sept. 1781, the following Feasts are to be classed
under the head of Festa solemnia: Nativitas D. K J. C,
Epiphania, Pascha, Ascensio Dhi, Pentecoste, Solemnitas
Corporis Christi, S. Josephi, S. Joannis Bapt., Ss. Apost.
Petri et Pauli, Assumptio B. M. V., Omnium Sanctorum,
F. tituli vel patrocinii. Hence it follows, that this solemn
intonation, N° 2, (of comparatively recent adoption) is to
be employed only on the Epiphany, the Ascension, Pen-
tecost Sunday, Monday and Tuesday, St. Joseph, St. John
the Baptist, Ss. Peter and Paul, All Saints, Dedication
of the Church, as well as on all Feasts of the first class,
in solemn Yotive Masses, and on the Feast of the Patron
Saint (when not de Beata). Christmas Day, Corpus Christi,
and the Assumption, have the formula de Beata, and
Easter the form N° 1.

On account of the number of notes in this Intonation,
it should be sung very smoothly, not drawlingly, and
care should be taken not to commence it too high. Suf-
ficient attention to the rhythm, breathing marks, etc., and
avoidance of all ostentation or affectation, will render
this chant solemn and dignified.

3. In Festis Duplicibus et 2 dse classis. Mod. I

aga cbaga agfde egad egfede fed

I - te e e Mis-sa est.

1$. De - o o o grä - ti - as.

137

This form serves for Feasts of the Apostles, 1 ) and
Feasts which are duplex II classis, (majus et minus). 2 )
The several phrases should be smoothly and pleasingly
sung, and not drawled out in separate notes, of equal
time- value.

4. In Missis Beatae Marise, in Oct. Corp. Chr. et Nativ. DM. 3 )
dfga d fdcdcd fg f ed Mod. I.

^—J^^=W^f*ifiF

I - te e Mis-sa est.
1$. De - o o grä - ti - as.

The minor third d-f should never be sung as a fourth,
and the full tone c-d (instead of cjf-d) should be carefully
attended to.

5. In Dominicis infra annum, in Festis Semidnplicibus , et infra
Octavas, quae non sunt beatse Marise.

abbaga d fgab|?a Mod. 1.

I - te - e Mis - sa est.
I£. De - o-o grä - ti - as.

6. From Septuagesima to Quinquagesima inclusive.

Be - ue - di - ca-mus Do - - mi - no.
1$. De - - - o - o gra - ti - as.

') Ss. Peter and Paul is a double of the 1 st class, and has the
solemn Ite missa est. N° 2.

Q ) But Feasts of the B. M. V., de Ss. Nomine Jesu, and others of
the II. classis, or lower rank, when the Preface is of the Nativity or
de Beata, use the Ite missa est de Beata.

3 ) From what has been already said it is clear when this form
de Beata should be used. On the Sunday however within the Octave
t of the Immaculate Conception N° 8 should be employed.

138

7. In Festis Simplicibus et Feriis temp. Paschali.

cd f fe d e Mod. IV.

I - te Mis - sa est.
1$. De - o grä - ti - as.

8. On Advent and Lent Sundays.

Modus VI.

je^t^^fc^gE^

Be - ne - di - cä - mus Do - o -
1$. De - - - o grä - a -

mi - no.
ti - as.

9. On Ferial Days throughout the year. 1 )

Mod. IV.

Be-ne-di-cä-mus Dö-mi-no. 1$. De - o gra-ti-as.

10. In Feriis Advent, et Quadrag.
a f

Mod. IV.

*-*-*

j^^ B H Ö gl-^ i ±jft

Be-ne-di-cä-mus Dö-mi-no. I£. De - o grä - ti - as.

11. In Missa Vigilise Nativ. Dni, in Festo Ss. Innocentium , et in
Missis Votivis pro re gravi, quando non 2 ) dicitur Gloria in excelsis.
Mod. I.

Be - ne - di - cä - mus Do o o

I£. Deo gratias (as at page 136, N° 3).

12. In Missis Derunctorum. 3 )

mi-no.

$=*

Re -qui - e- scant in pa - ce. 1$. A-men.

l ) E. g. the 3 Rogation days, and private Votive Masses not oc-
curring in Lent or Advent.

5 ) In Votive Masses with a Gloria, the intonation of the Ite Missa
est, is regulated by the Gloria: N° 11 therefore is used only in solemn
Votive Masses, which are celebrated in purple vestments, e. g. de
Passione Domini, ad tollendum schisma etc.

3 ) Etiamsi tantum pro uno celebratum fuisset, dicitur in Plurali:
Requiescant.

139

OBSERVATION. If after a solemn Eequiem Mass
the Absolutio at the bier is given, then the Rubrics pre-
scribe that the Libera, (for which a short form of Chant
(modus simplex) has been approved), should be intoned
by the Cantor es and continued by the Choir, as soon as
the Subdeacon bearing the Cross has reached the cata-
falque , or the Priest in cope has taken his place
(S. R. C. Sep. 1861).

■<S>-*-§7§<*~$>-

THE DIVINE OFFICE or CANONICAL HOURS.

CHAPTER 30 th .
PSALMODY.

I. By Psalmody we understand the practice of sing-
ing the Psalms to certain simple melodies or chants; —
"a recitation in a musical tone of voice, with a slight
"inflection or change of tone at certain fixed points. " *)

All the Psalms, (with a partial exception for the
113 tn "In exitu Israel ) are sung to eight different me-
lodies or chants, corresponding to the first eight Gre-
gorian modes; and these chants are called Psalm- Tones T
Toni Psalmorum.

Every Psalm or group of Psalms, is accompanied by
an Antiphon, which is a verse, taken sometimes from
the Psalm itself, sometimes from other sources, always
suitable to the Festival, and serving as an introduction
to the Psalm. The music of the Antiphon is more elabo-
rate than the Psalm-Tone, being a regular melodic com-
position with one or more notes to every syllable, and
invariably complete, i. e. ending on the final of its mode;

*) St. Augustine relates that in Alexandria under St. Athanasius,
such was the simplicity of the chant employed, that "it ivas more like
speaking than singing.' 3

140

so that the Antiphon governs the Psalm; — the mode of
the former determining the tone of the latter.

OBSERVATION. The words antiphonal and antiphon
require perhaps some further explanation. The custom
of singing Psalms is most ancient in the Church. The
Epistles of St. Paul bear witness to it. St. Ignatius
Bishop of Antioch, the third from St. Peter, is said to
have had a vision of angels, and hearing them sing the
praises of God in alternate choirs, he enjoined upon the
Church of Antioch this method of singing the Psalms.

In St. Basil's time (A. D. 371) this custom was uni-
versal throughout the Eastern Church, and he describes
the people "rising before day, and going to the church,
"where having made their confessions and prayers, they
"proceeded to the singing of Psalms;" — and he adds,
"that in this holy exercise, the choir being divided into
"two parts, they mutually answered each other" (avxi-
ipallovaiv dXlijXoig). The word antiphonal comes from
the Greek word av%i(piovr\, compounded of aw«, opposite,
and (pcopog, a sound; and means the reciprocal chant of
two choirs singing alternately. In the course of time
however the word antiphon was applied exclusively to
that particular verse, which was to be sung before and
after each Psalm; originating probably from the custom
of having the Psalm sung by a select body of voices,
whilst the multitude answered now and then with a par-
ticular verse which served as a burden or chorus. The
Text of the 135 th Psalm Confitemini etc. with the constantly
recurring "quoniam in ceternum etc." will help to give an
idea of this practice. "The Antiphons seem to be to the
"Psalms, what the mysteries of the Rosary are to the
" Paters and Aves, furnishing appropriate matter for
"meditation during the religious exercises which follow
"them. They give a distinctive colouring to the Psalms
". . . . It is not within the province of the writer to enter
"into a full description of the antiphonal system, with
"its inexhaustible store of beauties, but enough has been
"said to shew how sadly mutilated the Vespers of any
"festival must be when the words of the antiphons are
"suppressed, or rapidly recited on a monotone. The choral

141

I "music of the Catholic Church once subjected to un-
I "authorised curtailment, becomes unintelligible, not to say
I "ridiculous." 1 )

II. The following few remarks on Psalm -Tones and
their construction will be sufficient for the Theory. In
the 3 d Part of this book, when we come to speak of the
Practice of Plain- Chant, a few rules will be given for
chanting the Psalms, which if observed in practice cannot
fail to prove useful.

1) The Antiphon which accompanies every Psalm, or
group of Psalms, must, on a Double, — Fest. Dupl. —
be sung both before and after the Psalm. 2 ) On Festivals,
of inferior rank, Semidoubles etc. only the first words are
sung before the Psalm, and the entire Antiphon after.

2) Every verse of a Psalm is divided into two parts r
the point of division being indicated by a colon: or
asterisk * 3 ) The first member of each Psalm -Tone r
i. e. down to the asterisk, is always the same; the second
member has in the 1 st , 3 d , 4 th , 7 th and 8 th Tones various
endings, which are called the Finalis, Terminatio or Dif-
ferentia, and in English the "ending", or "final cadence."

3) The Intonation of the first verse of the Psalm
may be either solemn (on great festivals), or ferial (on
lesser festivals or Ferias).

4) In the solemn Intonation, only the first verse is
sung with the little melodic phrase or inflection at the
beginning, (called on this account the initium or inchoatio) 7
in all the subsequent verses it is omitted.

*) [See Introduction to "Organ accompaniments to the Antiphons
of the Eoman Vesperal" by John Lambert. London, 1851.]

5 ) When the Organ accompanies , a short interlude after each
Psalm will allow some one of the choristers to read the Antiphon
after the Psalm in a low voice, a practice permitted by the Rubric.
Vide Ccerem. Episc. lib. II. cap. 1. n. 8.

3 ) Even when the Psalms are only recited in Choir the asterisk
V serves to indicate a pause. S. E. C. 9. Julii 1864.

142

5) The little cadence occurring in the middle of the
Terse before the asterisk *, is called the medium or
media tio.

6) In the Choral Books we find at the end of each
antiphon, the second member or "ending" (Finalis) of the
corresponding Psalm -Tone indicated in notes; and fre-
quently under the notes we meet the letters E V V A E.
These are the vowels of the closing words seculorum
Amen, as every Psalm is regularly terminated by the
Gloria Patri.

In the official edition of the Roman Ritual and Officium
Defunctorum we find the letters U E A E I (luceat
eis) under the notes of the Finalis, as in the Service
for the Dead instead of Gloria Patri, Bequiem ceternam
is said, and instead of Sicut erat etc. Et lux perpetua
luceat eis.

7) As the mode of the Antiphon determines the tone
of the Psalm, — the Psalm-tone in truth dovetailing with
the music of the Antiphon, — it becomes necessary to keep
in mind the final note of the Antiphon , and the initial
note of the Psalm, in order that the progression may be
natural and easy. The following Table will show the
relative positions of these notes in each of the eight
Tones; the first note representing the final of the Anti-
phon, and the second note in each mode, the initial of
the Psalm. 1 )

I. Tonus. II. Tonus. III. Tonus. IV. Tonus.

$E^=lEfcl^faEfeiEÖ

W^:

D F

V. Tonus.

D C
VI. Tonus.

E G
VII. Tonus.

E a
VIII. Tonus.

*e£

*) These final and initial notes will also prove useful in the Introits;
tout not with the Gloria Patri in the responses to the Nocturns.

143

This Table serves for the Canticles, and the festive
Psalm -tones, — Toni Psalmorum festivi. For the Toni
Psalmorum feriales, we append another Table, which gives
the final of the Antiphon, and the first note of the Diffe-
rentia or ending of the Psalm-tone. 1 ) This note is also
the Dominant or reciting note.

I. Tonus. II. Tonus. III. Tonus, or: IV. Tonus.

Da DF Ec Ec Ea

V. Tonus. VI. Tonus. VII. Tonus, or: VIII. Tonus, or: 2 )

Fc Fa Gd Gd Gc Gc

8) If the first half of the Psalm -verse before the
asterisk end with a monosyllable or indeclinable Hebrew
proper name, then in the 2 nd , 4 th , 5 th and 8 th Tones the
last note is omitted. Such words for instance, as tu, sum,
Israel, usquequo, David, Jacob, Jerusalem, Sion etc. come
under this rule; but Juda, Judce, is an exception. This
incomplete cadence is called intonatio in pausa correpta,

e. g. Tonus VIII.

a — W— ■ — *— w— ■ — a — *

£gEE*EffE

Cre-di-di propter quod lo-cü-tus sum. *

9) Should the first words of the Antiphon be identical
with the first words of the Psalm, the latter are not re-

r ) In this form of arrangement the Repercussion (see page 74) is
regularly given before the clef in the Compendium Gradualis and in
the Compendium Antiphonarii ; the lower note marks the Final, the
upper the Dominant.

2 ) This distribution of the clefs is observed in the more recent
editions of the official Choral Books for all chants, so that the F-clef
on the second line is usually employed for the 1 st , 3 d , 4 th , 6 th and
8 th Modes, on the third line for the 2 nd Mode, and the C-clef on the
third line for the 5 th and 7 th Modes, unless the compass of the melody
should require the adoption of the C-clef on the third line for the
3 d and 8 th Modes or the C-clef on the second line for the 7 th Mode in
order to avoid having recourse to ledger lines above the stave.

144

peated on semidoubles and simples. For example in the
Vespers for Sunday, the Antiphon begins with the open-
ing words of the 109 th Psalm Dixit Dominus; the Psalm
consequently will commence with Domino meo. Thus:

Antiph. Ps.

Di-xit Do-mi-nus * Do -mi-no me - o.

OBSERVATION. When a number of choristers, or
a community are singing the Psalms, all should commence
and end together, take breath in the same place, and
sing the inflections of the mediation and ending to the
same syllables. For this purpose some persons devised
a method of pointing the Psalms, by the use of different
type or accent marks or numbers. In the earliest manual
editions of the official Choral Books this method was
tolerated by the Sacred Congregation. But as it became
a subject of warm controversy the same Sacred Congre-
gation determined in 1879 not to admit these signs into
the official books and leave the question of pointing the
Psalms an open one.

Ten years ago it was undoubtedly a happy thought
to mark the Vesper Psalms with numbers, and indicate
thereby for the eight Psalm-tones the exact syllables on
which the middle and final cadences should begin. But
the vast majority found the Rules and Exceptions,
especially those affecting, the treatment of the so-called
secondary syllables, too complicated, and scared by the
indispensable condition of good Text- declamation went
back to the system of getting the Psalms by heart.

The earlier attempts to mark the change of the
melody in each Psalm -tone by printing the syllable in
thick type or in italics, or by dividing lines and special
accent marks, demanded on the one part (especially for
a complete edition of the Vesper Psalms) much space,
and on the other hand the eye involuntarily attracted
by the signs or types thus conspicuously printed, draws
off the attention from the real verbal accent, and the
Declamation no longer expresses the rules of Latin pro- I

145

nunciation , but results in a false mechanical and heavy
recitation.

The Editor of this Manual in special editions of the
PsalteriumVespertinum and of the Psalms for Matins, Lauds
and. Vespers of the Nativity, of the Tridui Sacri, Paschatis,
and Defunctorum sought to avoid these difficulties, and
to help the memory by printing in full the notes of each
mode for each Psalm, in difficult or doubtful cases mark-
ing the syllable to be accented with the vowel printed in
dark thick type, and distributing clearly and correctly
the secondary syllables which he employed as rarely as
possible, over the Psalm-melody. Special attention was
given to the rule that the "Text is the mistress, the note
the slave": — "andllam i. e. notam dominari tarn a jure
quam a ratione est penitus alienum." A fuller account of
these principles and their employment may be read in
the Preface to the Psalterium Vespertinum.

CHAPTER 31 st .
THE PSALMS IN TONO DUPLICI ET SEMIDUPLICI.

I. The following Psalm-tones are used: firstly on all
Feasts of the 1 st and 2 ud class and on Greater Doubles,
throughout the entire Divine Office; secondly in festis
duplicibus minoribus, Dominicis et festis semiduplicibus,
at Matins, Lauds and Vespers only.

The better to catch the eye and enable the reader
to learn by heart the intonations of the Psalms, we pre-
sent them all together in condensed form, giving only
the melody of the Tone with the final note of the Anti-
phon and the Dominant (the note after the asterisk *)
indicated by the two small notes one above the other
placed before the clef. Exercises in the Declamation of
the Text and distribution of the syllables can be best
practised from the small Psaltery s published or from any
Prayer Book in which the Psalms of David are given.

Initium*) Mediatio.

I. Tonus. ^ E ^=w i =^ E E|iE^ l J^gE =^ :: = ^

Magister Choralis. 10

146

Fin. 1. lj§:
Fin. 2. ij§:

?^EE*EÖE:

M=*=&=*=^ :

Fin. 3.

41:

Fin. 4. ite
Fin. 5. ig:

m — ■ W =tf:

*=i=*

Initium.*) Mediatio. Finalis.

U. Tonus. JE^E^ ^BEE gE EEff^gizj —^Z" !

HI. Tonus. *j£b<

Initium.*) Mediatio.

¥*=*

Fin. 1.

Fin. 2. lj|

Fin. 3. ig

.Fm. 4. ig
Initium.*)

-^a=x=%

&=+=*=*t

£EE*

*El

IY. Tonns. £ ^-J L- h »

Mediatio.

JFSw. i.

Fin. 2.

am — a — u — *

^zrw:

:*=W

.Fm. 5. jg

^s;

Y. Tonus. ^S

Initium*)

Mediatio

Finalis.

*) Here at the asterisk *) the Dominant of the Tone is easily
recognised, because it is the principal note of the Tone to which most

147

Initium.*)

YI. Tonus. tjE

Initium.*)

Mediatio.

Finalis.

*3*si

YH Tonus. jjEpj:

ipfrl !■■! »*:

Fm. i. JE!

m; 2.

Fin. 3. 3E
J??». 4. J

^m. 5. ^E!

*=1

Initium.*)

¥111. Tonns. 3ES5Ü

Mediatio.
■ — W — -

l^m. i.

±t

j?». £.

II. For the 113 th Psalm In exitu Israel, there is a
special chant constructed from a combination of the first
and eighth modes, and called Tonus mixbus, (also pere-
grinus 1 ) irregularis). This irregular tone is only used
with this Psalm, when the Antiphon Nos qui vivimus ac-
companies it; on other occasions, when this Antiphon
does not occur, such as on the Sundays in Advent, the
Epiphany, Easter, Pentecost and Trinity Sundays and
on the Sundays during Paschal Time, this Psalm is sung
in the Tone corresponding to the Antiphon.

of the syllables are sung, and with this note the second and subsequent
verses begin.

l ) According to Gerbert the Tonus Feregrinus originated in France,
where the Eoman singers sent there in the 9 th and 10 th centuries
heard it and brought it with them to Eome.

10*

148

The first verse of the Tonus peregrinus and its ac-
companying Antiphon are as follows:

Nos qui vi-vimus. In ex-i-tu Isra-el de iE-gy-pto.

do-mus Ja-cob de pö-pu-lo bär-ba-ro.

Nos qui vi-vimus be-ne-di-cimus Do -mi-no.

The 28 remaining verses are sung in the following
simpler style.

■:

Facta est Judaea saiicti-fi - cä - ti - o e - jus, *

i M-MzJM , n fe-ff

Is-ra - el po - te-stas e - jus.

CHAPTER 32 d .
FERIAL TONES FOR THE PSALMS; — THE CANTICLES.

I. The Tonus ferialis is employed: 1 st on minor Doubles,
in Festis clupl. minoribus (i. e. on all Feasts which are
not of the 1 st or 2 nd class, or Greater Doubles), and on
Sundays and semidoubles, at Prime, Terce, Sext, None
and Compline. 2 nd in Festis simplicihus et in Feriis
throughout the entire office, and in the Office for the.
Dead, even on All Souls Day and whenever the Anti-
phons are doubled.

OBSERVATION. As the Festive and Ferial Tones
for the Psalms differ only in the Initium and partly in
the mediatio, whilst the endings remain the same, it will
be only necessary here to give the first member of the
verse. All the verses are sung alike. The Intonatio in
pausa correpta in the prescribed Tones, will be the same
äs in preceding Chapter; the Initium only is ferial.

149

Initium. Mediatio. Initium. Mediatio.

I Tonus. l ^Igr— ^rir ^ii^r u Tonus.^i^^^^

The 5 Finals see page 146.

Initium. Mediatio. Initium. Mediatio.

III.TonüS.ggr=^EE^gg=g IY. TOMlS.^gES^Jj

The 4 Finals see p. 146. The 5 Finals see p. 146.

Initium. Mediatio. Initium. Mediatio.

Y, Tonus. j ^HJUE EEgE^ vi. Tonus, j ^W E^u EJEgj

Initium. Mediatio. Initium. Mediatio.

-— ^UIOP VTTT Tau no ±=Z=l"i=Zzdl!=!

VII. Tonus, j gy— ^g^ YIII. Tonus. i$

The 5 Finals see §. 147. The 2 Finals see p. 147.

II. In the Canticle of Zachary — the Beneclictus,
and in that of the B. M. V. — the Magnificat, every verse
should be sung in the solemn form used for the in-
tonation, even in Ferial offices and the Office for the
Dead: "inchoantur et decantantur usque ad ultimum
versum solemniter, etiam in officio feriali vel Defuncto-
rum." (Direct Chori pag. 37*.) *)

The first verse of the Magnificat has not enough of
syllables for the usual Psalm chants and is intoned in
each mode as under; the second and following verses,
and the first and all the verses of the Benedictus are
sung according to the chants in the preceding chapter.

Initium. Initium.

Tonus I; ^=j^^=g=gEgE Tonus II. £$=^^^^i=

Ma-gni - fi-cat. Ma-gni - fi-cat.

The 5 Finals see p. 146.

*) Where a custom (consuetudo) exists, the cantica may be sung 1
ferial form when the office is ferial. S. R. C. 9. Maji, 1857. Act.
'Ephem. Tom. III. p. 587.

150

Initium. Initium.

Tonus III. ;£$E^==S Tonus IY. j =^=[fc^=M=±

Ma-gni - fi-cat. Ma-gni - fi-cat.

The 4 Finals see p. 146. The 3 Finals see p. 146.

Initium. Initium.

Tonus Y. -JjjE ^±E iEffE Tonus YI. £^=i=^=w^

Ma-gni - fi-cat. Ma-gni -fi-cat.

Initium. Initium.

Tonus Yn. ^E ^t^EgEJ gp Tonus YUI. £ ^« Zj£ Z*I=ff

Ma - gni - fi-cat. Ma-gni - fi-cat.

The 5 Finals see p. 147. The 2 Finals see p. 147.

CHAPTER 33 d .
VESPERS AND COMPLINE.

I. Every Office has seven parts or horce (canonical
hours) which will he treated of in this and the following
chapters. l )

Most Feasts have two Vespers, the first on the
Vigil, and the second on the evening of the Feast. The
Directory or Ordo must he consulted in order to know
the Vespers for each Feast. If they be 1 st Vespers of
the following day, then the Ordo says, Vesper ce de sequenti
(Vespers of the following); if Vespers of the day itself,
they are described: In II. Vesp. (in 2 nd Vespers); if finally
the Vespers be divided, i. e. the first portion be given to
the Office of the Feast being celebrated, and the second
portion to the Feast of the following day, then the
direction is: Vesp. a capitulo de sequenti; i. e. Vespers
from the Little Chapter of the following: the Capitulum
or Little Chapter being the point of the division.

*) Whatever is common to all hours will he explained in that
place where it is first met with and then afterwards only referred to.

151

After the Priest has recited in silence the prepara-
tory prayer, — Pater noster and Ave Maria, — he intones
the Deus in adjutorium etc., which has a festive and
ferial intonation. 1 )

a) In Festo dupl. et semidupl. ad omnes horas.
Hebdomad.

3 ■ ■

q=±c«z=iq =g:

De- us, in ad-ju - to - ri - urn me - urn in-ten-de.

Chorus.

Dömiue, j ad adjuvändum me fe-sti-na. Gloria Patri, et Filio,

et Spiritui san-cto: Sicut erat in principio, | et nunc,

et semper, | et in ssecula saeculorum. A-men. Al-le-lu-ja.

From Septuagesima until Easter, instead of Alleluia,
the following is sung.

Laus tibi Dömine, rex seternse glorise.
b) In Festo simplici et Feriis ad Matutinum.
Hebdomad, j EBl _ I

Deus in adjutorium meum intende.
Chorus. ^^S B — : zzS B — -A

Domine ad adjuvändum me festina. Gloria Patri,

et Filio, et Spiritui sancto : Sicut erat in principio, et nunc,

*) On Holy Thursday and Good Friday Vespers are not sung-,
only recited, and begin immediately as in V espers for the Dead with
the Antiphons and Psalms.

152

et semper, et in ssecula sseculörum. Amen. Al-le-lü-ja.

Vel Laus tibi, ut supra.

c) In Festo simplici et Feriis ad Laudes et ad reliquas horas.

y. De - us in ad-ju -tö - ri - um me - um in-ten-de.

Chorus as at b).

The Vesper Service has as a rule five Antiphons 7
each followed by a Psalm. The Ordo indicates whether
they are to be selected from the Psalterium, the Pro-
prium de Tempore, the Proprium de Sanctis, or from the
Commune Sanctorum. From Septuagesima until Easter
every Alleluia after the Antiphon must be omitted. In
Paschal time on the other hand an Alleluia must be added
to such Antiphons as may not have one, sung of course
in the same mode.

In the authentic Manual editions of the Vesp. Bom.
and Compend. Antiphonarii the Alleluias for Paschal time
are given in notes with the initials T. P. = Tempore Pa-
scliali. They are also found in the Comm. Vesp. or Antipli.
arranged in the eight modes.

On every Feast down to a semidouble inclusive the
Intoner intones the first Antiphon to the Celebrant. In
Ferial Vespers and on simple Feasts the Celebrant intones
himself without any pre-intonation. l )

The Antiphon being concluded, 2 ) two or more Chanters,
according to the rank of the Festival, intone the Psalm
according to the method indicated in chapter 30 r

kth

*) These Rules and Directions are taken from the Birectorium
Chori and are good for every place where the necessary number of
Priests, Servers and Singers are to hand. In smaller churches, the
first of the five Antiphons, the first words of the Hymn and the Anti-
phon to the Magnificat should be intoned by the Celebrant, the con-
tinuation of the Antiphons, of the Hymn, the Intonation and Chanting
of the Psalms may be left to the choir of singers.

2 ) On a Feast which is a double, the Cceremoniale Episc. remarks
(I. Lib., cap. 28., par. 8.): "In Vesperis solemnibus Organum pulsari
solet in fine cujuslibet Psalmi", but in par. 6. directs the Antiphon to
be recited by one of the choir intelligibili voce.

153

The Psalms should be sung through by the Choir r
the Canons, and all Clerics taking part in the function
in an earnest and dignified manner (cum gravitate et
decore), so that the words can be clearly understood.
The Gloria Patri down to Sicut erat should be sung in
a still more solemn rhythm, and all should reverently
uncover and bow the head.

After each Psalm the repetition of the Antiphon may
be entrusted to one singer who shall recite it whilst the
Organ plays.

The remaining four Antiphons in Cathedral and Col-
legiate Churches ! ) should be pre-intoned by the Cantores?
in smaller Churches they can be sung by the Cantor and
other singers.

After the repetition of the 5 th Antiphon the Celebrant
sings the Little Chapter. 2 )

Tonus Capituli.

Beätus vir, qui inventus est sine macula, et qui post
aurum non abut, nee speravit in pecünia et thesäuris.
Quis est hie, et laudäbimus JEEEiEifc

e - umr

S(=i^Kzi===lj=i=*

Fecit enim mirabilia in vi-ta su-a. 1$. De-o gra-ti-as.

Should the last word be a monosyllable, as on the
Epiphany, on the third Sunday of Advent, and Ascension ;

x ) In Pontifical Vespers the second Antiphon is intoned to the
assistant Deacon, the third to the Presbyter assistens, the fourth to the
Senior Canon, the fifth to the Subdeacon. "In distributione Antiphona-
rum et reliquorum omnium, quce cantari debent a Canonicis, semper ser-
vandus est ordo antianitatis, non attenta majori habilitate, et experientia
modulandi." S. R. C. 7. Sept. 1658.

2 ) In Easter week and in the Offic. Defunct, there is neither
-Chapter nor Hymn.

154

or should it have the accentus acutus as in the Chapter
at Prime — Begi sceculorum, then the Chapter should be
terminated as follows:

iq=a=fcff=g^:zsn! =«= q =&=^

Su-per te or-ta est. In s^e-cu-la sae-cu-lo-rum. Amen.
The 1$. Deo gratias. remains however as above.

The Celebrant intones the Hymn, the Choir continues
&nd concludes the first strophe. 1 )

The last strophe of the Hymn often changes, ac-
cording to season. The change is regularly notified in
the Ordo, and is to be observed in all the Hours where
the Hymns are in the same metre. In the Hymn Iste
Confessor frequently we must read meruit supremos laudis
honores instead of meruit beatas scandere sedes which is
notified in the Ordo by the initials M. S. or mutat. 3. vers.

Those strophes of Hymns where a liturgical action
(such as genuflexion 2 ) is prescribed, such as at the first
strophe of the Veni Creator and Ave maris Stella, the
strophe Crux ave in the Vexilla Begis, and Tantum ergo
in the Tange lingua when the Blessed Sacrament is ex-
posed, must always, like the first and last strophes, be sung 3 )

*) "Chorus prosequitur in cantu piano, vel musicali, prout magis pla-
•cuerit; dummodo verba distincte intelligantur ; cui etiam intermisceri Orga-
num poterit: dum tarnen verba ipsa Hymni clara voce per aliquos ad id
depulatos recitantur, vel cum organo cantentur" Cserem. Episc. Lib. II.
«ap. I. par. 11.

5 ) Genuflexio intelligenda est non usque ad finem prcedicti versus, sed
de integra stropha. S. E. C. Nov. 14. 1676.

3 ) Reguläre est, sive in Vesperis, sive in Missa, ut primus versus
Canticorum et Hymnorum, et pariter versus Hymnorum, in quibus genu-
flectendum est, qualis est Versiculus Te ergo qusesumus etc. et Versiculus
Tantum ergo Sacramentum etc. quando ipsum Sacramentum est super
altari, et similes, cantentur a choro in tono intelligibili, non autem sup-
pleantur ab organo: sic etiam Versiculus Gloria Patri etc., etiamsi Versi-
culus immediate prcecedens fuerit a choro pariter decantatus; idem servatur
in ultimis versibus Hymnorum. Sed advertendum erit, ut, quandocumque
per Organum figuratur aliquid cantari, sen responderi alternatim Versiculis
Hymnorum, aut Canticorum, ab aliquo de choro intelligibili voce pronun-
tietur id, quod ob sonitum organi non cantatur. Et laudabile esset, ut
aliquis cantor conjunctim cum organo voce clara idem cantaret. (Cserem.
Episc. Lib. I., cap. 28, par. 6.)

155

and not merely recited. The strophes not sung may be
recited whilst the Organ plays.

The Hymn is followed by a Versicle and Response,
to which an Alleluia is added in Paschal Time.

Toni Versiculorum.

1) In Festo Duplici.

W. Constitues eos principes | super onmem terram, a - a - m l )
I£. Memores erunt | nöminis tui Dömine, e e.

2) In Festo Semiduplici.

y. Dirigätur Domine | oratio me - a a.

I£. Sicut incensum I in conspectu tu - o o.

y. Angeüs suis Deus mandävit de te e.

I£. Ut custödiant te in omnibus viis tu - is i - s.

This intonation is followed in the minor Hours on
all Feasts (ritu solemni down to Semidoubles inclusive).

3) In Festis simplicibus et diebus ferialibus per totum officium.

y. Domine in coelo | misericördia tu - a.

1$. Et Veritas tua | usque ad nu-be - s.

4) In Matins and Lauds of the three last days of Holy Week,
and in Vespers, Matins and Lauds of the Officium Defunctorum, the
Versicle should be sung as follows:

ö*ä=

y. Avertäntur retrörsum | et e - ru - be-scant.
1$. Qui cögitant mi -hi ma -la.

y. A por-ta infe-ri.

i$. Erue, Domine, ani - mas e - 6 -rum. 2 )

*) Should the word end with a consonant, the neuma is to be
sung to the vowel, and the consonant not pronounced until the close.

2 ) In the 1 st Noct. of the Offic. Defunct this response is sung in
the plural even pro uno Defuncto.

156

The Antiphon to the Magnificat should be intoned
by the Celebrant, and continued by the Choir. Then the
first verse of the Magnificat is intoned to one of the
eight Tones given at pag. 149 — 150. During the singing
of the Magnificat the thurification of the altar takes
place 1 ) which should be terminated before the repetition
of the Antiphon.

Each verse of the Magnificat should be sung accord-
ing to the solemn intonation as the first verse.

Then follows Dominus vobiscum with the Response
and the Prayer of the Feast.

If in Ferial offices the so-called preces are prescribed,
these should not be sung, but may be recited. 2 )

The Versicles and Responses for the Commemora-
tions, 3 ) Anthems of the B. V. M,, at Benedictions, Pro-
cessions and similar occasions are sung in the following
simpler manner.

5) Toni Versiculorum in Commemoratione etc.

y. Ora pro nobis | sancta Dei Ge-ni-trix.

I£. Ut digni efficiämur | promissiönibus Chri-sti.

In the case of monosyllables or the accentus acutut
at the end of words, such as, Amen, David, the chant
closes thus:

*) The Cserein. Episc. remarks Lib. IL, cap. 3, par. 13: ''Advertant
cantores et organista, ut cantum et sonum invicem alternatim ita dime-
tiantur, ut ante repetitionem Antiph. incensatio sit expleta. See also
1. c. cap. 1, par. 16: "Quod si interim expleto cantieo, Episcopus inciperet
y. Dominus vobiscum pro Oratione dicenda, debet cessare tJiurificatio :
animadvertendum tarnen, ut cantus Magnificat ita dimetiatur, ut cum
thurificatione simul terminetur." 2 ) S. R. C. 9. Maß 1739.

3 ) A Commemoration of a Feast occurs when two or more Feasts
fall on the same day. The Feast of higher rank is recited in full,
whilst those of lower are commemorated in Lauds and Vespers , and
if a double of second class, in Lauds only. Sometimes the Commemo-
rations are followed by the Suffragia Sanctorum, which are found in
the Breviary before Compline, and except on Doubles, and days infra
Octavam when they are never used, these should be sung.

157

f. Fiat misericördia tua Dömine su-per nos.
I£. Quemädmodum sperävimus in te.

y. Angelis suis Deus man-dä-vit de te.

I£'. Ut custödiant te in omnibus vi - is tu - is.

The Tone of the Commemoration prayer is the same
as that for the principal prayer:

After the prayer and the occurring Commemorations
the Celebrant sings: Dominus vobiscum. Then on Sun-
days and die solemni two or more chanters sing the
Benedicamus after one or other of the following melodies.
On other days it is sung a hints musicis vel ab uno.

Toni Benedicamus pro Officio.

1) On solemn Feasts.

Modus XL (XIII).

Be-ne-di-cämus Do - o - o - o-o- mi-no.

^fc«EER^E^fii?EEB^EE^ = ^ =i= ^3E

*I£. De - o o o o o grä-ti - as.

2) On Festivals of the B. V. M. *)

Modus I.

Be - ne - di - ca-mus Do - mi - no.

I£. De - oo grä - ti - as.

*) Also at Friday's Vespers, when the Office of the B. V. M.
comes on the Saturday following, also during the Octave of the Na-
tivity and Corpus Christi and on all Feasts when the Hymn closes
.with the words "Jesu tibi sit gloria, qui natus es de Virgine."

158

3) On Feasts of Apostles and those of duplex majus, minus, or
2 nd class.

Modus I

mi - no.

Be - lie - di - cä - mus Do - o - o

I£. De - o o o grä - ti - as.

4) On ordinary Sundays, also in Advent and Lent, on Semidoubles
and within Octaves not of the B. V. M.

Modus I.

^=s^=

Be - ne - di - cä-mus Do

mi - no.

-M

i^ gi^gug

grä - ti

as.

1$. De - o o

5) From Easter Saturday until Friday in Easter week, inclusive.

Modus VIII.

Be-ne- di-cämus D6mi-no, al-le-lü-ja, al-le - lii - ja.
T^l. De - o grä-ti-as, al-le-lü-ja, al-le - lü - ja.

6) On Feasts of simple rite at Matins, Lauds and Vespers.

Modus I.

?*==?*-

Be-ne- di- cä-mus Do

:g*¥

*=*-

mi - no.

gra

ti - as.

1$. De

7) In Ferial offices throughout the year at Matins, Lauds and

Vespers. . TTT

* Mod. IV.

Be-ne -di- cä-mus Do -mi -no.

i^^^fa^

1$. De - o grä - ti - as.

159

8) In the Office for the Dead instead of the Benedicamus.

^=J=*= ^i=i= ] =" =ri=i=P^=g^

Be -qui- e- scant in pa- ce. I£. A-men.

These eight different methods of Intonation are ad-
opted at Matins and Lauds as well as at Vespers.

The following intonation for the Benedicamus is ad-
opted at Prime, Terce, Sext, None and Compline on
every Feast and Ferial Day throughout the year without
distinction of rank or season.

9) At the small Hours and at Compline.

eEfc^^EEEfe^Pä^

Be - ne - di - ca-mus Do - mi - no.
1$. De - o grä - ti - as.

After the Benedicamus the Celebrant recites in a
subdued voice without any inflection; — Fidelium animce
per misericordiam Dei requiescant in pace. I£. Amen. 1 )

When Vespers are not immediately followed by Com-
pline, the Celebrant recites a Pater noster in silence,
and then in a subdued tone of voice (mediocri voce) says
Dominus det nobis suam pacem, to which the Choir an-
swers in the same tone JEt vitam ceternam, Amen. Then
according to the season of the year the Celebrant intones
one of the four Anthems of the B. V. M. 2 )

1) From Advent to Candlemas inclusive.

iE=^=g^§fcEEj=I
Al ma

2) From Candlemas (that is to say from the -fc — jtt t j — ti~

end of Compline of the 2 na February, even if n* — -*4^ — **

Candlemas be transferred) to Holy Thursday. A - ve

x ) "Fidelium animse, Dominus det nobis, Divinum auxilium, sub-
missa voce sine vocis variatione canuntur." S. R. C. 9. Maji 1739.

2 ) In the Vesp. Rom. there are two settings, solemn and simple
of the four anthems.

160

3) From Easter to Trinity exclusive.

Re-gi-na coe - li.

4) From Trinity to Advent.

Sal

—li-
ve

or:

£=^H"=5^*=i

Sal-ve Re-gi-na.

The Prayers annexed to the four Anthems are sung
In ferial Tone (see page 110). After the Amen of the
prayer the Divinum auxilium maneat semper nobiscum.
3$. Amen, is recited on a subdued tone of voice (sub-

missa voce).

II. Should Compline follow Vespers immediately, th<
Cantor after the Amen of the Fidelium, sings :

y. Jube, domne, be-ne-di - ce - re.
The Hebdomadarian or Celebrant answers:

-*-*

Noctem quietam, et finem perfectum |

concedat nobis Dominus omnipo-tens. I£. Amen.

Then in the Tone of a Lesson (see p. 167) follows,
Fratres: Sobrii estote, with the I£. Deo gratias and the
f. Adjutorium with 1$. Qui fecit coelum et terrain. Pater
noster in silence and the Confiteor with the Miser eatur
and Indulgentiam recited, not sung.

With the exception of important alterations in Holy
Week and in Paschal Time Compline is the same all the
year round. The Antiphon Miserere (or Alleluia) is fol-
lowed immediately by four Psalms to be sung in Tono
festivo on all Feasts of the 1 st and 2 nd class and on
duplicia majora; on lesser doubles, semidoubles, simples
and in Ferial offices they are sung in tono feriali. These

161

Psalms never change and when the Antiphon has been
sung are followed by the Hymn Te lucis, the chants for
which differ according to the office and are fully given
in the Vesper ale Bomanum. 1 )

Then follows the Little Chapter with the 1$. Deo
gr atlas, and the so-called responsorium breve sung to a
peculiar chant:

1$. br. at Compline during the year.

t^-^=fc=^=^=

— "t— ■ — >r

1$. br. In ma-nus tu - as Do-mi-ne * Com-men-do spi-

^=i=W=^=|t

ri - turn me - urn. In manus.

^- r -iH ~'~^^rT~ 1 =i=wg= ^

p. Eed - e - mi - sti nos Do - mi-ne De - us ve- ri - tä - tis.
Commendo.

i== i ^-i- = i = ^

y. Glö-ri-a Pa-tri, et Fi - li-o, et Spi-ri-tu-i san-cto.
In manus.

For the Tone of the I£. br. during Paschal Time see
below p. 174.

The Canticle Nunc dimittis is sung like the Psalms
(not like the Canticle Magnificat).

The Preces (when they occur) are recited, not sung.
For the Tone of the Prayer see page 107; for that of
the Beneclicamus page 159, par. 9.

Then the Celebrant before the Anthem of the B. V. M.
sings (see page 159) the Benedictio or blessing:

*) The whole office of Compline is published separately in a small
pamphlet by Heer Pustet. In smaller churches where afternoon
liturgical functions can only be held occasionally the service of Com-
pline is strongly recommended.

Magister Choralis. 11

162

-*—■—*-

Benedicat et custödiat nos omnipotens et mi-se-ri-cors Do-

mi-nus Pa-ter, et Fi-li-us, et Spi-ri-tus sanctus. 1^. Amen.

The office is terminated after the Divinum auxilium
with a Pater, Ave and Credo recited in silence.

CHAPTER 34 th .
MATINS AND LAUDS.

I. All Sunday Festive and Ferial Matins begin with
a Pater, Ave and Credo said in silence, then the verse,
Domine labia mea dtc., chanted thus:

f. Domine | labia mea aperies. x )

1$. Et os meum | annuntiäbit laudem tuam.

The Deus in adjutorium has a festive and a ferial
intonation. For both see page 151.

II. Then follows the Invitatorium. This is a short
verse adapted to the Office, and so called because it is
a sort of invitation or encouragement to the work of
praise which immediately follows. 2 ) It generally closes
with the words Venite adoremus. It is divided into two
parts by an asterisk*, and the entire verse or latter part
is sung antiphonally i. e. alternately with every two verses
of the 94 th Psalm, Venite exsultemus Domino. In the Office
de Tempore it is found in the Proprium de Tempore] for
the Feasts of Saints it is taken from the Proprium San-
ctorum, or if there be no Proper, from the Commune

2 ) In the Office of Holy Week and of the Epiphany the office
begins with the Antiphons and Psalms and in the Office for the Dead
with the Invitatorium, if three Noctnrns are to be said.

2 ) The Invitatorium is supposed to have been introduced by Pope
Damasus, or certainly by St. Gregory.

163

Sanctorum; on the feasts of Virgins for instance, from
the Commune Virginum, on that of an Apostle, from the
Commune Apostolorum, (if no special one be provided in
the Proprium de Sanctis.)

On the Feast of the Epiphany, on the three last days
of Holy Week, 1 ) and in ordinary Offices for the Dead
(except all Souls Day, and all days when three Nocturns
are to be sung), the Invitatory and 94 th Psalm are omitted.
In Paschal Time, (from Easter Sunday till Saturday after
Pentecost,) an Alleluia is joined on to the Invitatorium.
The 94 th Psalm (as indeed ordinarily speaking every
Psalm) closes with the Gloria Patri, except in the Offi-
cium de Tempore (Sundays or Ferias) from Passion Sun-
day to Thursday in Holy Week. In Officium Defunctorum
the Bequiem ceternam &c. is sung instead of the Gloria
Patri. Should the Invitatorium be taken from the 94 th
Psalm, (as on Ferias) then the same words in the Psalm
are not repeated.

The ten different melodies for the Invitatory-Psalm,
are found in the Antiphonarium and Directorium Chori;
for the eight Tones given in full, for the 4 th Tone in
three forms, for the 6 th Tone in two and for the other
Tones in one form. 2 ) The Cantores z ) sing first the entire
Invitatorium, the Choir repeats it. Then the Psalm Venite
is sung by the Cantor es, whilst the Choir repeats after
each division of the Psalm (two verses) the entire Invi-
tatorium, or the latter part of it.

III. In Officio de Dominica et die solemni the Chanters
intone the first words of the Hymn to the officiating priest

') The reason given for there being no Invitatory on the Epiphany,
is, that the Office of the Epiphany is of older date than the Invita-
tory; and as the Liturgy of Holy Week is all of a mournful character,
the joyful summons of the Invitatory is considered out of place.

*) The 8 th Tone is not found in the Commune Directorii, as it only
occurs once in the year, in the 3 d Nocturne of the Feast of the Epiphany.

3 ) Fuller information for the ceremonial in solemn Vespers, when
the ministers in cope, as Cantores, must give* the Intonations to the
officiating dignitary, Vicarius, Canonicus or Episcopus and to other
dignitaries in Choir in a determined order, may be obtained from
the several liturgical books, and in a short form from Schneider's
Manuale Olericorum, and especially in the Cceremoniale Episcoporum.

11*

164

or Hebdomadarius , who repeats them. If the Office is
not solemn or de Dominica, the Choir intones the Hymn.
The Hymn is taken from the Proper of the Feast,
or from the Psalterium dispositum per Hebdomadam, the
Proprium de Tempore, or the Commune Sanctorum. On
the three days preceding Easter, during the Octave fol-
lowing, on the Feast of the Epiphany, (at Matins only)
and in the Office for the Dead, the Hymn is omitted.
— The last strophe of the Hymn is often varied accord-
ing to the season. This alteration is generally noted in
the Calendar, (and in the Direct Chori) and applies to
all the parts of the Office.

IV. The Hymn is immediately followed by the Noc-
turns (horce nocturnes), three or one. All Festivals ritu
dupl. et semidupl. (except Easter and Pentecost) and all
Sundays have three Nocturns. Festa simplicia, Ferias and
Vigils, and Easter and Pentecost with their Octaves have
but one Nocturn.

Jhe Nocturns consist of Antiphons, l ) Psalms, 2 ) a
Ver stele (J.) and Besponse (]$.)? the Absolutio and Bene-
dicts, the Lessons and their Besponsoria.

In Dominica et die solemni one Chanter intones the
first words of the first Antiphon at Matins to the Heb-
domadarius, who repeats it. When the Office is not de

l ) According to the rank of the Festival these should be sung- (in
ritu dupl.), both before and after the Psalm; on Festivals of lower rank
only a few words (as far as the asterisk) are intoned before the Psalm.
During Paschal time each Nocturn has only one Antiphon with Alle-
luia for aU the Psalms, except on the Ascension and Pentecost with
their Octaves. In Offices from the Common of Saints the 1 st Antiphon
of each Nocturn is selected.

a ) The first Nocturn de Dominica has twelve Psalms (four for each
Antiphon) the second and third Nocturns have three Psalms and Anti-
phons. The Ferias have one Nocturn with twelve Psalms and six
Antiphons; the festa dupl. and semidupl. have three Nocturns with
each three Psalms and Antiphons; the festa simplicia and Vigils have
the Antiphons and Psalms of the Feria occurring, that is six Antiphons
and twelve Psalms.

165

Dominica or solemn then the officiating Priest alone in-
tones. In Festo duplici the Choir sings the remaining
words of the Antiphon to the end.

Two Chanters then intone the first verse of the first
Psalm; 1 ) on Vigils, in Quarter-tense, and on the Ferias
of Advent and Lent, only one Chanter intones the Psalm.

When the 1 st Psalm with its Antiphon is sung through,
then in Festis et feriis one Chanter intones the initial
words of the other Antiphons to the Canons or Clergy
assisting in choir according to their seniority and rank.
The Canon or other in choir repeats the intonation. The
other Psalms are intoned in order by the Chanters in
the same way as the first.

It is only when the Psalm is immediately followed
by an Antiphon, that the following Psalm is intoned by
the Chanters; if several Psalms follow on without an
Antiphon, only the first is intoned by the Chanters.

OBSERVATION. On the three last days of Holy
Week the Gloria Patri is omitted at the close of each
Psalm. For the last member of the last verse, a special
ending is prescribed to be used for every Psalm without

distinction, namely: Ep — W— w— w — W !fi_ -

E. s. Ps. 23, V. Tone, 10. verse:

Mediatio.

< ^^ — E

Quis est iste Eex glo-ri-se? * Dominus virtütum | ipse

Zm ~H—

*=*:

est Rex glö - ri - se.
And so in all Tones and on all final verses.

V. In Dominica et die solemni two or more Chanters
sing the Y er side ; in Feriis et festis non solemnibus two of
the music-choir; on Vigils, in Quarter-tense, and on the
Ferias of Advent and Lent, only one of the music-choir.

*) When the Organ is played this verse is usually intoned with-
out accompaniment.

166

After the Vers, and Besp. the officiating Priest sings

Pa-ter noster. secreto. if. Et ne nos indücas in tentati - 6-nem.
Chorus: 1$. Sed libera nos a ma-lo.

Absolutio.

Hebdom. Exäudi Dömine Jesu Christe
Ipsius pietas et miseri -
A vinculis pecca -

preces servörum tuö-

rum, I et mise-re

cör-di
to -

re no -bis, qui cum Patre et Spiritu
a nos ädju-vet, qui cum Patre et Spiritu
rum no-stro-rum absölvat nos omnipotens

Chorus.

sancto | vivis et regnas | in ssecula ssecu-lö-rum. A-men.
sancto | vivit et regnat | in ssecula saecu-lö-rum.

et misericors Dominus.

Then a minister choro assistens goes to the Lectern

or reading desk and sings : iJE

-w— *

■*—*-

Ju-be domne be-ne-di-ce-re.

The Hebdomadarius answers with the Benedictio. Of
the twelve customary blessings, we give here only a few
as the chant is alike for all.

Benedictiö-
Deus Pa-
Evange-
Per Evange-

ne per-petua,
ter o-mnipotens,
li - ca lectio
li - ca dicta

feS

benedicat nos Pater se - ter-nus.
sit nobis propitius et cle-mens.
sit nobis salus et pro - te-ctio.
deleantur nostra de - li-cta.

1$. A-men.

167

In ritu simplici, feriali and in Officio B. V. M. and
in Sabbato the Absolutiones and Benedidiones are sung
as follows:

Absolutio.

Precibus et meritis Beatse Mariae semper Virginis, | et
omnium Sanctorum I per dücat nos Dominus I

3=^i

ad re-gna coe - 16 - rum. I£. A-men.

Benedictio.

:I3

!=S

Nos cum prole pia | benedicat Virgo Ma-ri-a. 1$. Amen.

The Lector (minister choro assistens) sings the Lesson
in the following manner:

Tonus lectionis.

De Actibus Aposto - 16-rum. Petrus autem et Joannes

Sic dicitur Punctum.

ascendebant in templum | ad horam orationis no -nam . . .

Sic die. monosyllabum

n— ■ — w-

Intuens autem in eum Petrus cum Joanne dixit: re-spi-ce

aut accentus acutus. Sic can. Interrogatio. l ) Sic regulariter finitur Lect.

in nos.

— Quid

ergo

erit

no -bis?

au-tem Domi-

-<-

— ■ — ■-

— Ü M—

^=*

— 1 — *-

H —

■ — *— J-'

mi - se - re - re no - bis. ]$. De - o grä - ti - as.

l ) In the ninth Lesson on Christmas Day (and in all similar in-
stances) where on the words factum est the accentus acutus and inter-
rogatio seem to come in collision, the interrogatio should be sung on
est, and the accentus acutus be allowed to drop out.

168

OBSERVATION. The Lessons in the Offic. Defunct.
and on the three last days of Holy Week, have no Abso-
lutio, Benedictio, or Tu autem JDomine at the end. The
Reader hegins the lesson after the Pater noster (recited
in silence); he uses the punctuation noted in the above
example, but does not close with the fall to the fifth, or
with a different phrase, but on the reciting note sung
somewhat slower and more solemnly; e. g.

Finis.

Vi - si - tä - ti - o tu - a cu-sto- di- vit Spi-ri-tum me-um.

The first Nocturn of the three last days in Holy
Week has for Lessons the so-called Lamentations of the
Prophet Jeremias, and they are sung to peculiarly solemn
and affecting melodies. 1 ) We give a portion of one here
as a specimen. The nine Lamentations are given in full
in the official Directorium Chori and in the Officium
majoris Hebdomadce.

Tonus Lamentationis.

S=a

*=*

De Lamenta-ti-6-ne Je-re-mi - se Prophe - tse. Heth.

*) [These "touching elegies", as Card. Wiseman calls them, when
well sung, form one of the most striking features of the solemn Office
of Tenebrce. At Guidetti's time, as Baini tells us (Vol. II., page 103,
Memorie Storico-Critiche) the Lamentations were not usually sung in
Plain-Chant hut in figured chant or read; and a manuscript in the
Vallicellian library containing the three Lamentations of the third day,
was the only one Baini knew that could have furnished Guidetti with
an idea of the old chant for them. Some changes were made, hut so
judiciously, that Baini suspects Palestrina to have had a share in them.
The figured music for the Lamentations of Carpentrasso , introduced
in the Pontificate of Leo X. , held their ground in the Papal Chapel
to the end of Gregory XHL's reign. But no sooner had Sixtus V.
ascended the throne than he ordered that the second and third Lamen-
tation on each evening should be sung in Plain-Chant; whilst the first
might be in figured chant, but not that of Carpentrasso which he did
not relish, and the genius of Palestrina was not slow to correspond
with the Pontiff's wishes and produce his incomparable arrangements.
In the preface to the Plain-Chant lamentations Guidetti says "prcesertim
cum sanctitas vestra lamentationes , quas ego ad musicam rationem resti-
tueram, in pontificio sacello voluerit decantari."] Tkanslatok.

169

:«=*

S^E^E*EE!e*E^±
Co-gi- tä-vit Dömi-nus dissi-pä-re murum f i - li - se Si - on :

M-w — M * "1^ W

N— «— i— *

te-tendit fu-ni-cu-lum su-um, et non a-vertit manum su-am

pp ^j -B-liizM

a per-di - ti - ö - ne : lu - xitque an-te-mu - rä - le , et mu-rus

im:

*tt =*=p*

pä - ri - ter dis-si - pä - tus est.
Every Lamentation concludes with:

^^E^i

Je - rü - sa - lern, Je - rü - sa - lern, con-ver - te - re ad Dö-

±H

$E«

mi-num De - um tu

um.

VI. Every Lesson is followed by its Responsorium, *)
lor Response, which consists of three parts. The first
part is the Response properly so-called; the second part
begins with a Versieh] in the third part, the second half
of the Response is repeated.

Should the Office have three Nocturns, then the third
Response of the 1 st and 2 nd Noct., and the second of the
3 d Nocturn (except in Passiontide) have a Gloria Patri T
after the Versicle, and when this is sung, the second
half of the Responsorium should be repeated. When the
Office has only one Nocturn, then the Gloria Patri is
attached to the second Response.

x ) [The Responsoria are not to be confounded with the short Response
in answer to the Versicle. They are of greater length both as to words
and music. The ancient ritualists are not agreed about the reason of
the name; some saying they were so called because one singing, the
whole choir did answer them; while others say they had their name r
because they answered to the lessons. Baini tells us that the Respon-
soria were amongst those portions of the Chant that required cutting
down because of the length of the neumce.] Translator.

170

If however the Te Beum is not said, then the Gloria
Patri is attached to the third Response of the third, or j
only Nocturn, as the case may he.

Any alterations in this order of the Responses in
the Matins of Christmas, Easter, Passiontide, Holy
Week &c. are clearly indicated in the Choral books.

It may be added, that in Festis solemnibus et Bomi-
nicis privilegiatis, the officiating Priest, — hebdomadarius,
— sings the ninth Lesson.

In Festis solemnibus et Bominicis the Chanter gives
the Intonation of the Te Beum to the Hebdomadarius, !
who repeats it. If the feast be not solemn or a Sunday, \
then the Chanters in medio cJiori intone it themselves.

Intonatio Hynmi Ss. Ambrosii et Augustini. Mod. III. et IV.

Te De - um lau- da - mus.

The extended compass of this Hymn comprises the
eight degrees of the scale, from C to c.

A simpler chant and one more easily learned by the
people was approved by the S. R. C. in 1877.

VII. The officiating Priest begins Lauds with the
Beus in adjutorium. After the Gloria Patri with Alleluia
or Laus tibi Bomine come the five Antiphons with Psalms,
the Chapter, the Hymn, Versicle, and Antiphon to the
Benedictus, each verse of which is sung solemnly as with
the Magnificat at Vespers. Should the Preces occur they
are recited, not sung. After the Bominus vobiscum and
Prayer for the Day, the Commemorations come and the
Benedicamus.

What we have observed on the order of Vespers
applies also to Lauds.

In the Officium de Bominica, the Antiphons are found
in the Psaltery (Psalterium dispositum per hebdomadam), 1 )

l ) The three first Psalms have only one Antiphon. The Sundays
of Advent and Lent (Septuagesima, Sexag. and Quinquag. included)
have special Antiphons and Psalms; also Low Sunday.

171

on Feasts of Saints they are taken from the Propre or
Common of Saints as noted in the Directory, on Feasts
of our Lord from the Proprium de Tempore, and on Ferias
from the Psaltery. 1 ) During Paschal Time an Alleluia
is added to each Antiphon.

The Psalms at Lauds are, for all Feasts and ordinary
days, except from Septuagesima to Palm Sunday, and the
Ferias and Vigils, (but not those of Easter Week,) the
following five: 1) Ps. 92, 2) Ps. 99, 3) Pss. 62 and 66,
joined so as to count as one, 4) Canticum trium puerorum,
5) Pss. 148, 149, 150, all sung as one.

CHAPTER 35 th .
I PRIM. TERCE. SEXT. NONE.

I. The Chant for the small Hours of the Office is
found in the Compend. Antiphonarii et Brev. Bom. in 8°,
as well as in the Folio volume of the Antiphonarium
which bears the title Horce Diurnce, and printed in ex-
tenso for all the Feasts of the Ecclesiastical year. In
the Compendium also are given the Little Chapter, the
Prayers, the Antiphons occurring and various melodies
for the Hymns.

At Prime, after the preparatory Pater, Ave and
Credo, said in silence, the officiating priest sings Deus
in adjutorium as at page 151. The Hymns at Prime,
Terce, Sext and None have (according to the season)
different melodies, and are generally sung to the same
melody as the Hymn at Matins or Lauds, if the latter
be in the same metre.

OBSERVATION. This general rule is set forth in
the Directorium Chori, and the annexed Table may sim-
plify its directions.

•) The six ferias preceding Christinas, and the ferias of Holy
Easter and Whitsun -weeks, have special offices in the Proprium de
Tempore.

172

Use the melodie of

on following Days and Festivals.

In the Officium de Tempore during Advent.

" " " " " " Lent.

In Passion week.

From Christmas to Epiphany.

On Epiphany and during its Octave.

In Paschal Time even when the Office is not
de Tempore.

On Ascension and during Octave and on Trans-
figuration.

On Pentecost and during its Octave. 1 )

On Trinity Sunday.

On Corpus Christi and during its Octave, on al
Feasts of the B. V. M. and whenever the last
strophe is Jesu tibi sit gloria, Qui natus es de
Virgine, etc.

For Sundays after Epiphany, from the thirc
Sunday after Pentecost and from Septuag.
to Quinojiagesima.

On All Saints and during its Octave.

On Feasts of Apostles, and Evangelists as wel
as on doubles where the Hymns are not in
the same metre as those at the Horce, as
e. g. S. John Baptist, Dedicatio S. Michaelis
Angels Guardian, Dedication of a Church
an within their Octaves, also in Communi
plurim. Martyrum out of Paschal Time and
when their Feasts are solemnized ritu dupl.

Within the Octave of a Feast de Communi plurim.
Martyrum or when the Feast is a semidouble,
and on all Feasts de Communi unius Mart.,
Conf. Pontif. et non Pontif., Doctorum, Virg.,
non Virg. whether double or semidouble.

The Hymnus Jam lucis at Prime, as well as the
Hymns at Terce, Sext and None, are omitted on the
three last days of Holy Week and in Easter week.

Each Hour has its own Antiphon, which usually is
selected from the Antiphons at Lauds; for Prime th<

En clara vox.
sol salutis.
Vexilla Regis.
Jesu Redemptor.
Crudelis Herodes.
Ad regias Agni dapes.

Salutis humance Sator.

Beata nobis gaudia.
Jam sol recedit.
Quern terra pontus.

Special melodies. 2 )

Placare Christe.
JEterna Christi munera.

Rex gloriose Martyrum.

1 ) The Hymn for Terce during Pentecost Octave is Veni Creak
Spiritus.

2 ) On Sundays through the year the Hymn for Prime differs in
melody from those of Terce, Sext, None and Compline.

173

first is taken, for Terce, the second, for Sext, the third,
and for None the fifth. On Sundays, Ferias and Vigils
special Antiphons are prescribed different from those at
Lauds.

The Intonation of the Antiphon is given by the of-
ficiating priest; the Psalms are intoned and continued by
the Choir, musicorum et capellanorum.

The Psalms at Prime vary according to the season
or rank of the Office. On Sundays and Ferias, now one,
now another Psalm, is added to the 53 d and the two
sections of the 118 th , which are invariably sung.

The officiating priest sings the Capitulum as at p. 153.
The Besponsorium breve, or short response with the Ver-
sieh that immediately follows, should at all the minor
Hours be sung by two chanters of the capella musicorum-,
on Vigils, Advent, Lent and Quarter-tense Ferias by
one only.

The melody of the Besponsorium breve is at all the
minor Hours of the Ecclesiastical year usually the same,
the difference of text sometimes making slight alterations ;
this melody is found in extenso in the Direct, chori.

Toni Responsorii brevis.

j^^p^^öaE^g

I£. Chri-ste Fi - li De - i vi - vi, * Mi - se - re - re no - bis.
The Choir repeats the entire Responsorium.

% Qui se-des ad dex-te-ram Patris. 1 ) Chorus. Miserere nobis

Grlö-ri-a Pa-tri, et Fi-li-o, et Spi-ri-tu-i san-cto.

*) This Versicle often changes. On Feasts of the B. V. M. it runs,
Qui natus es de Maria Yirgine. The changes are noted in Antiph. and
Compendium.

174

Chorus: Christe Fili Dei vivi, miserere nobis, f. Exsurge
Christe adjuva nos. I£. Et libera nos propter nomen tuum.
(As at page 155.)

In Paschal Time and on several feasts during the
year two Alleluias are added, and then the chant runs
as follows:

3E*

^ftz*

ty. Chri-ste Fi - li De - i vi -vi, mi -se- re -re no -bis.

Al-le-lü-ja, al-le-lii-ja. Chorus repetit Bespons.

ii.

n=*-

y. Qui sur-re - xi-sti a mor-tu - is. Choir: Allelüja, allelüja.

$=^:

*=+

£*5¥

Glo-ri - a Pa- tri , et Fi - li - o , et Spi - ri- tu - i sancto.

Chorus: Christe Fili Dei vivi, miserere nobis, * allelüja,
allelüja. y. with Allelüja. in fest simpl. et diebus fer. p. 155.

Should the Preces occur they are recited, not sung.
Then follow: Dominus vobiscum, the Prayer Domine Deus
in Tono simp, feriali (page 155); Dominus vobiscum, and
Benedicamus. After the Deo gratias the Martyrology is
read daily in choro. 1 ) The Lector begins at once, with-
out asking the Blessing, to read the Martyrology for the
following day in the Tone of a Lesson.

3e^=

fe^O^EE?:

ft ■-

Ka-lendis Ja-nu-a-ri-i, lu-na pri-ma, Circumcisio Do-

fe=I

mini nostri Jesu Christi | et Octava Nativitätis e-jüs-dem.

*) On the three last days of Holy Week the Martyrology is
omitted.

175

At the close each day is added: M alibi aliorum
plurimorum Ss. Martyrum, et Confessorum atque sanctarum

5—1

Vir-gi-num. Chorus: 3$. De - o gra-ti - as.

On the Vigil of Christmas x ) the voice rises a fourth
at the following words:

In Bethlehem Judae näscitur ex Maria Virgine factus ho-mo.

Then he closes with the following words in the Tone
of the Passion:

g=S= *t-»f' H l pEgjSEp

Nativitas Domini nostri Je-su Chri-sti se-cundum carnem.

The remainder to the end is sung in ordinary Les-
son Tone.

After the Marty rology the officiating priest sings
alternately with the Choir in Yersicle tone, Pretiosa, then
Sancta Maria in tono feriali, Deus in adjutorium in Yer-
sicle tone, and the prayer Dirigere as at page 110. The
Lectio brevis as at page 167.

II. Terce, Sext and None are shorter and more re-
gularly ordered. The Deus in adjutorium is followed by
the Hymn, then the Antiphon is intoned, and according
to its mode the three Psalms 2 ) are sung. After the sing-
ing of the entire Antiphon come the Little Chapter, the
Besp. breve, Prayer (always in tono feriali) , and Benedi-
camus with Fidelium animce on one note.

1 ) For the special rite on this day see the Martyrology itself.

2 ) Each of these three Hours is made up of three sections of the
118 th Psalm.

176

SPECIAL OBSERVANCES.

CHAPTER 36 th .
THE ASPERGES AND THE LITANY CHANTS. I

I. On all Sundays throughout the year Holy Water
Is sprinkled on the altar, choir and congregation, before
the principal Mass. The Celebrant intones : l )

Infra Tempus Paschale.

From Easter until Trinity Sunday exclusive.
ga afag gag g

^=fW*=**==*

Vi - di a - quam.

The Choir follows after with: Egredientem (Grad.
Bom. or Ord. Missce p. 2*) down to the Psalm, the first
half verse of which as well as the Gloria Patri is sung
by the Cantor es, the rest by the Choir. Then follow:

y. Ostende nobis Dne misericordiam tu-am. (T.p. Alle-lü-ja.)

1$. Et salutäre tuum da no-bis. (T.p. Alle-lü-ja.)

y. Dömine exaudi oratiönem me -am.

1$. Et clamor meus ad te ve-niat.

f. Dominus vobiscum.

3$. Et cum spiritu tuo. Oratio in tono fer. p. 110.

Extra Tempus Paschale.

ga cba be d

i^fc^i

A-sper - ges me.

*) Sacerdos, inclinatione ant genuflexione facta, flectit utroque gem
super infimum gradum altaris, accipit aspersorium, et incipiens cantare
Antiphonam Asperges vel Vidi aquam, cantando ter aspergit altare etc.
These intonations with Versicles and Prayers can be had printed on
separate sheets and mounted on stiff card board for use of Celebrant
and Choir.

177

The Choir continues with: JDomine hyssopo, as in
page 1* of the Grad. Bom. or Ordinarium Missce.

On Passion and Palm- Sundays the Gloria Patri is
omitted, and the Antiphon repeated immediately after
the J. Miserere. Versicle (without Alleluia) etc. and
Prayer as with Vidi aquam.

II. In the Books of the Liturgy there are but three
' Litanies authorised; the Litany of the Samts, the so-
called Litany of Loreto, and the Litany of the Holy
Name of Jesus. On the Feast of St. Mark, and on the
Bogation Days, (the three days immediately preceding
Ascension Thursday) the Litany of the Saints should be
sung as in the Directorium Chori, the Bituale, Proces-
sionale Bomanum, or Cantorinus Bomanus. 1 ) On Easter
Saturday and the Vigil of Pentecost the beginning and
end of the Litany differ in a few notes from the chant
prescribed for Rogation week; on these two days more-
over several invocations are omitted and the order of
the Virgins is changed. For sake of practice we subjoin
the principal parts of the authorised Litanies.

1) On Easter and Whitsun eves.

: r=i

-*— *■

-m-m-

Ky-ri-e e-le-i-son. Chri-ste e-le-i-son. Ky-ri-e

£=

■m—m-

*F=*=n

e-le-i-son. Chri-ste au-di nos. Chri-ste ex-äu-di nos

£3

:*=!«:

*— n— *-jp

Pater de coelis

De - us , Mi - se - re - re no - bis.

*) Duo cantores litanias cantare incipiunt, ceteris singulos versus
eadem voce respondentibus. If there be a custom of singing the Litany
at extra liturgical devotions, (thus, Cantores: Sancta Maria, Chorus:
Ora pro nobis, or Cantores one entire invocation with its Response, and
the Choir the following one in like manner) this is tolerated. But the
rule for the repetition of each Verse and Eesponse by the choir on
these special days remains. S. R. C. 16. Sept. 1865.

Magister Choralis. 12

178

feä=*

Sancta Ma - - ri - a, O-ra pro no -bis.

Omnes sancti Do - ctö-res, O-ra-te pro no -bis.

^EgJ== = ==E==E^E>c^:)<zWr^:w=i=t :
Omnes Sancti et Sanctse De - i.

Interce-di-te pro no-bis.

-^E=E^E^:

^eW.

Pro -pi - ti - ns e-sto, Par-ce no-bis Dö-mi-ne.

■*=*

Pro-pi -ti- us e-sto, Ex-äu-di nos D6-mi-ne.

Ab o-mni ma-lo, Li-be-ra nos Dö-mi-ne.

In di-e ju-di-cii, Li-be-ra nos Dö-mi-ne.

ÖEEp*2p3E^

Pec-ca- to -res, Te ro-ga-mus au-di nos.

1 — 3. Agnus De - i, qui tol-lis pec-ca-ta mun-di,

1. par-ce no-bis Dö-mi-ne. 2. ex-au-di nos Dö-mi-ne.

3. mi - se - re - re no - bis.

Chri-ste au-di nos. Chri-ste ex-äu-di nos.

At this point the Choir begins immediately the Kyrie
of the Mass; on Easter Saturday the Paschal Kyrie; on
the Vigil of Pentecost Kyrie in Festis solemnibus.

2) At the Procession on St. Mark's day, the Rogation days, and
on other occasions.

Before the Procession the Ritual prescribes the An-
tiphon Exsurge Domine (II. Modus).

179

Ky-ri-e e-le-i-son. Chri-ste e-le-i-son. Ky-ri-e

e-le-i-son. Christe au-di nos. Christe ex-au-di nos.

Pater de cmlis. Sancta Maria. Propitius esto. Peccatores.
Agnus Dei etc. as above. Then follow Christe audi nos.
Christe exaudi nos. Kyrie eleison. Christe eleison, as above;
at the end however:

Ky - ri - e e - le - i - son.

The Psalm Deus in adjutorium is sung alternately
in Tono feriali (Ton. VI.); the Verse and Resp. as at
page 155.

If the Prayers conclude with the clausula major or
longer ending, then they are sung in Tono simpl. fer.
page 109; if with the clausula minor or shorter ending,
in Tono feriali, page 110. After the Dominus vobiscum
the two Chanters sing

$E^i z=::::: = ::z ===f =^ E"EEfc g ^- W:= ^^

y. Exäudiat nos omnipotens et mi-se-ri-cors Do-mi-nus.

and the Choir answers: j — "* g= fa

A - men.

% JEt fidelium animce is recited in a. low voice, and
its response Amen on the same note.

The Procession at which the Litany of the Saints is
sung according to this form is called in old liturgical
language, on St. Mark's day Litanite majores, 1 ) on the
Rogation days Litanice minores.

*) In Processione S. Marci et in triduo Rogationum singuli Litan.
versus integre a Cantoribus did, et a Glero repeti debent, et non sufflcit.,
ut ab Ulis inchoati ab hoc terminentur. (16. Sept. 1865.) — In Processio-
nibus, quce obtinent in festo S. Marci, et in Pogationibus tolerari potest ut

12*

180

This same Litany as also sung at the Forty Hours
Adoration with some trifling alterations at the Te rogamus
section, and may be found with corresponding versicles
and prayers in the Rituale Romanum, and in the Ap-
pendix to the Compendium Antipk et Brev, Romani.

2) The Litany of Loreto and of the Holy Name.

Besides the Litanies of the Saints there are two other
Litanies that of Loreto and of the Holy Name approved
for private [extra liturgical] devotions. These two alone
are to be found in the liturgical books (Rituale, Proces-
sionale, Directorium Chori) and provided with authorised
chants, whilst it is left free to Bishops in their respective
Dioceses to approve and permit other Litanies.

The special Chants for the Litany of Loreto are as
follows:

Ky-ri-e e-le-i-son. Christe audi nos. Christe ex-au-di nos.
Chri- ste e-le-i-son.
Ky-ri-e e-le-i-son.

^EEEEEB^E^^EEqEEfcffEEEiEE^E^EEJbjf

Verse: 1 — 4. Pater de cce - lis De - us , mi - se - re - re no - bis.

iE=E^^= JEJEfe^

Verse: 5 — 23. Sancta Ma-ri - a, o-ra pro no -bis.

$— — — -B*^ — ^^ w^E^j=j-%=fti=

Verse: 24 — 40. Speculum ju-sti-ti-se, o-ra pro no -bis.
Verse: 41 — 50. Eegina An-ge-16-rum, o-ra pro no -bis.

Antiphonce cantentur in Ecclesiis, quas Processio ingreditur, ritu Paschali.
Non licet vero introgressa Processione in Ecclesiis interruptis Litaniis San-
ctorum, invocare nomina Titularium, licet in iisdem non adsint Litaniis.
(9. Mart. 1857.)

181

A-gnus De - i qui toi -lis pec-cä-ta mun-di

m^^EE«

iÖE^^EEE?

:?i

1. par-ce no -bis D6-mi-ne. 2. ex-äu-di nos Dö-mi-ne.

:ES :

3. mi-se-re-re no -bis.

For a long time it was customary in many places to
close through error [and the error is continued in most
of our Prayer-Books] the Litany of Loreto with Kyrie
eleison, etc.; the S. R. C. fixes the close with the third
Agnus Dei. In Rome it is the custom for the f. Or a
pro nobis, or Gaude et Icetare etc. to be sung by the Choir,
not by the Priest.

The versicle and Prayer after this Litany vary ac-
cording to the time of year, and the different Festivals
of the B. Y. M. The Prayer is to be sung with a fall
of a third before the clausula minor and at the close.

The authorised Chant for the Holy Name -Litany is
as follows:

Ky - ri - e e - le - i - son. Chri-ste e - le - i - son.

Ky - ri - e e - 16 - 1 - son

EEfcEÖ^Ef

Je -su au-di nos.
Jesu ex-äu-di nos.

e=mee!

^=*

Verse: 1 — 4. Pater de ccelis De - us, mi- se - re -re no-bis.

;j—

3^=^e1

Yerse: 5 — 42. Jesu Fili Dei vi -vi, mi -se- re -re no-bis.

^=*

43. Propitius e - sto : par-ce no - bis Je - su.

182

44. Propitius e-sto: ex-äu-di nos Je-su.

45 — 64. Ab omni ma - lo, li-be-ra nos Je-su.
$E=- .j=;^=t== — _ i — *

*=#

£eS

1 — 3. A-gnus De - i, qui tol - lis pec-ca-ta mun-di,

1. par-ce no-bis, Je-su. 2. ex-äu-di nos, Je-su.

3. mi-se-re-re no-bis, Je - su. Jesu, audi nos. Jesu, ex-audi nos.

These two Invocations serve as Versicle and Response
and they are followed immediately by the two prayers,
Domine Jesu and Sancti nominis tui, which with one con-
clusion are sung in Ferial Tone with the fall of a third
before the clausula minor and at the end.

CHAPTER 37 th .

BLESSING OF CANDLES, ASHES, PALMS, PASCHAL
CANDLE AND BAPTISMAL FONT.

I. The Blessing of the Candles on February 2 nd begins
with Dominus vobiscum. Then follow five Prayers, which
are all sung in tono feriali. Whilst the Candles are being
distributed the Choir sings the Antiphon Lumen ad reve-
lationem with the Canticle Nunc dimittis; after each verse
the Antiphon Lumen is repeated.

Before the Procession JExsurge Domine is sung,
(Grad. Bom. p. 258). The Priest then sings the Prayer
JExaudi nos, (if after Septuagesima with a previous Fle-
ctamus genua etc.) in tono feriali, and the Deacon turn-
ing to the people sings, in versicle-tone:

183

Chor :

f. Pro-ce-dämus in pa-ce. I£. In nömi-ne Christi. Amen.

During the Procession the Choir sings the Antiphon:
Adorna thalamum or Responsum accepit] when re-entering
the Church, Obtulerunt pro eo. 1 )

II. On Ash -Wednesday before the blessing of the
ashes the Choir sings the Antiphon: Exaudi nos, with
the Psalm -verse Salvum me fac, Gloria Patri etc. and
then repeats the Antiphon.

The four Prayers which follow are sung in tonoferiali.
Whilst the ashes are being distributed, the Choir sings
the Antiphon: Immutemur habitu, or Inter vestibulum,
and at the close: Emendemus in melius with the y. Adjuva
nos and Gloria Patri. The Prayer after the distribution
is sung in Tono feriali.

III. After the Asperges 2 ) on Palm-Sunday the Bless-
ing of the Palms commences with the Antiphon Hosanna
filio David. The Prayer, Deus quern diligere is sung by
the Priest, in tono simplici feriali. Then comes the Epistle.
As a Gradual, the Choir sings Collegerunt Pontifices or
In monte Oliveti, and then the Deacon follows with the
Gospel more consueto. The Prayer Auge fidem in tono
simpl. fer. The Preface in tono feriali. The Choir sings
Sanctus and Benedictus to a chant identical with that of
the Missa pro Defunctis. Of the six Prayers which now
follow, the fourth: Deus qui per Olivce ramum is sung in
tono feriali, the others in tono simpl. fer. During the
Distribution of Palms the Choir sings: Pueri Hebrceorum,
then the Celebrant the Prayer Omnipotens, in tono feriali.

1 ) These Chants are to be found in the Graduate, Processionale
and Rituale Rom. as well as in the Comp. Grad, and Cantorinus Rom.

2 ) The Gloria Patri at the Asperges is omitted.

184

When the Procession is about to move the Deacon
sings: Procedamus in pace. The Choir during the pro-
cession sings one or other of the Antiphons: Cum appro-
pinquaret, Cum audisset populus, Ante sex dies, Occurrunt
turbce, Cum angelis, Turba multa. On the return of the
Procession, two or four chanters enter the Church and
sing the first two verses of the Hymn: Gloria laus. The
Celebrant and Procession who remain outside, repeat the
same two verses. The Chanters then sing the five fol-
lowing strophes, 1 ) the procession answering after each
strophe with the words Gloria laus, as follows:

Glö-ri-a, laus, et ho-nor ti-bi sit, Kex Cliri-ste, Kedemptor:

$=q

: F*-i-

cu - i pu - e - ri - le de-cus prompsit Ho-san - na pi - urn.

When the Subdeacon knocks at the door with the
foot of the Cross, the door is opened and the Procession
enters the Church, singing Ingrediente Domino.

IV. At the Blessing of the Fire on Easter Saturday,
the five grains of incense to be fixed in the Paschal Candle
are also blessed. The Deacon who is charged with the
Benedictio Cerei Paschalis, enters the Church with the
Procession, bearing the triple candle, and sings three
times during the procession, each time a tone higher
than the preceding:

$=q:

1=E=Ö

Lu-men Chri-sti. Chorus. De - o gra - ti - as.

The Chant for the Blessing of the Paschal Candle,

called the Prceconium Paschale or Exsultet, has a great

similarity with the Preface and perhaps surpasses it in

beauty and variety. We give the beginning and ending.

') Omnes, vel partim, prout videbitur.

185

br-4 .'*: " ' * eI

-*— *-

*| =W==i=>3=i:

Exsül-tet jam Ange-li-ca tur-ba cce-lö-rum: ex-sül-tent
di-vi-na my-ste-ri-a: et pro tanti Re-gis vi-cto-ri-a

^^^öi^^^g

tu-ba in-so-net sa-lu-ta - ris. Gäu-de-at et tel-lus tantis

ir-ra-di-ä-ta M-gö-ri-bus: et ae-terni Re-gis splendö-re

il-lustra-ta, to-ti-us or-bis se sen-ti-at a-mi-sis-se

trft

:p*

*=*:

^ =g=±=q =w=--g=q=

-B— «-

***

ca-li - gi-nem. Lse-te-tur et ma-ter Ec-cle-si-a, tanti

B=M:

4=*

lümi-nis ad-ornä-ta ful-gö-ri-bus et ma-gnis po-pu-16-rum

vo-ci-bus hsec an-la re-siil-tet Qua-prö-pter a-stan-

fe*

-*— *-

«-■

5*e£

-*-*-

tes vos, fratres ca-ris-si-mi, ad tarn mir am hu-jus sancti

lümi-nis cla-ri-tä-tem, u-na mecum, quse-so, De-i omni-

-■■—■-■-

l 1="=s=*= i =riS=r

po-ten-tis mi-se-ri-cordi-am in-yo-ca - te. Ut qui me

: fc-» W — ü — p^-a-a-^* — m—m- m-p

-n— *-

nonme-is me-ri-tis infra Le-vi-tä-rum niime-rum di-gna-

*fcs

■!..■ .

-« — ■-«-«

a^=i

tus est aggre-gä-re: lümi-nis su-i cla-ri- ta-tem in-fun-

186

: ^^-^^"=^- s =^ 1 =i=i=* fc ri=-=^

dens, Ce-re - i hu-jus lau-dem imple - re per-fi - ci - at.

3^E£

Per Do-mi-num nostrum Je -sum Christum Fi-li-um

3es

'!e±EEE~

£=£=3

*— 1-

su - urn: qui cum e- o vi-vit et re-gnat in u-ni-

3EBI

— — M — * — a ~

-r— h

tä - te Spi - ri - tus san-cti De - us. Per 6-mni - a sse-

W*=S

±=P

: 1 :

cu-la S3e-cu-16 - rum. 1$. A-men. f. Do-mi-nus vo

»FS

bis-cum. 1$. Et cum spi-ri-tu tu-o. f. Sur-sum cor-da.

5=^=5

*=I=JC=*:

^=fc:|N=±

!=*=*

I£. Ha-be-mus ad Do-mi-num. f. Gra-ti- as a-ga-mus

acztt

Do -mi -no De - o nostro. • 1$. Dignum et ju-stum est.

■$e*ee^

Ve-re dignum et ju-stum est, etc. The ending runs:

Per e-umdem Dömi-num nostrum Je-sum Christum Fi-

i-*-

*=s

li-um tu -urn: Qui te-cum vi-vit et regnat in u-ni-

l^="— q=i=±= q= f<i=i^

*=*=*=!!=:»

fta

ta-te Spi- ri- tus san-cti De -us: per 6-mni -a sse-cu-la

"r >■■ — E^lH — a—

sse-cu-lo-rum. R. A-men.

187

OBSERVATION. The Pontißcale Bomanum pre-
scribes a similar Chant for the publication of the Festa
mobilia which takes place in Cathedrals after the Gospel
on the Feast of the Epiphany. This Chant must be ad-
apted each year to the variable text, and the publication
itself devolves upon the junior Canon. See further Cmrem.
Episc. Lib. IL, Cap. 15, and compare with a Decree of
the S. R. C. 16. Jan. 1607.

Y. In the Procession to the Baptismal Font the
Tract Sicut cervus is sung by the Choir. The two Prayers
before the Preface are sung in tono simpl. fer. The Pre-
face is in the same Chant as the Preface at the Mass.
Towards the end of the Blessing, the following is sung by
the Priest three times, the voice being raised each time:

g=i=£=g="==i==^^

Descendat in hanc plenitudinem fontis, virtus Spiritus sancti.

The last note but one (e) serves as the first note for
the repetition. Returning from the Font to the Altar
two Chanters intone the Litany of the Saints in the
curtailed forme, (see Grad. Bom. p. 151) the Choir repeat-
ing in full each invocation and response. The same takes
place on the Vigil of Pentecost.

CHAPTER 38 th .

HOLY THURSDAY, GOOD FRIDAY, AND EASTER

SATURDAY AD MISSAM.

I. Mass on Holy Thursday has little special about
it *) except in Cathedral Churches, where the Bishop con-
secrates the Holy Oils. Twelve Priests, seven Deacons
and seven Subdeacons assist the Bishop. The Mass pro-
ceeds more consueto up to that part of the Canon where

l ) The Organ is played at the Gloria, when also the bells are
rung, after which both Organ and bells remain silent till the Gloria
on Easter Saturday. It is not therefore correct to use the Organ at
the Kyrie on either of those days.

188

we meet the words "Per quern hcec omnia, Domine, sem-
per bona creas," exclusive. The Bishop having assumed
his mitre, proceeds to the table prepared, and seats him-
self at it, facing the altar. Then the Archdeacon sings,
<dta voce in tono lectionis:

fa|=g

- le - urn in - fir-mö-rum.

One of the Subdeacons with two acolytes retires to
the Sacristy and brings the Oil of the Sick, which when
consecrated is brought back in the same manner to the
Sacristy. Then the Bishop having washed his hands,
ascends the Altar and resumes the Mass at the words
Per quern etc. and continues it up to the communion of
the Calice. Having administered Holy Communion to the
Deacon, 1 ) Subdeacon and assistant Clergy, and placed in
a vase specially prepared, the host consecrated for the
ceremonies of the following day, he resumes his place at
the table, and the Archdeacon sings:

- le - urn ad sanctum Chrisma.
And immediately adds in the same tone

- le - um Ca - te-chu-me - no - rum.

The Bishop then puts incense in the thurible and
blesses it more solito. Then the twelve priests, Deacons
and Subdeacons with the Acolytes and other ministers
go processionally to the Sacristy and bring, cum omni
decore et reverentia, the Oil of Chrism and the Oil of
Catechumens. Eeturning to the altar they proceed in the
following order: 1 st the Thurifer, then one Subdeacon

l ) The Deacon standing at the Epistle side sings the Confiteor, as
at page 134.

189

bearing the cross between two Acolytes with lighted can-
dles, then two Chanters, chanting the verses Bedemptor.

Modus II.

Bedemptor, su-me car-men te-met con - ci-nenti-um.

The choir repeats the same verse, and the chanters
continue the following verses as in the Offic. maj. Hebd. r
the choir repeating after each the verse Bedemptor as
above. The Bishop then proceeds with the Blessing of
the Chrism, as in the Pontif. Bom. and Offic. maj. Hebd-
When the Blessing is completed, first the Bishop, and
then the twelve priests in order, salute the consecrated
Chrism saying:

A-ve sanctum Chrisma.

This is sung three times by each, the voice being:
raised at every repetition. After the third salutation each
one reverently kisses the edge of the vase containing
the Holy Chrism, and retires to his place.

The same ceremony is observed with the Oil of
Catechumens, the consecration of which immediately fol-
lows, except that instead of the word chrisma the word
oleum is substituted:

A-ve sanctum 6 - le - urn.

Then the consecrated oils are brought back to the
Sacristy with the same ceremony as before, the chanters
continuing the verses Ut novetur sexus, and the choir
answering each verse with Bedemptor as before. Mass
is then brought to a conclusion and preparations are made
for bringing the consecrated Host to the Altar or Chapel
prepared for its reception. The Bange lingua is sung

190

during the Procession, all other Chants being expressly
forbidden. l )

Mass and Procession ended, Vespers are recited, not
sung at the Altar and towards the end of same and whilst
the 21 st Psalm Deus, Deus meus respice in me is being
recited, the Altars are stripped of all their coverings
and ornaments.

In Cathedral Churches this Ceremony is followed by
the washing of the Feet by the Bishop, introduced by
the singing of the Gospel Ante diem Festum Pasclice,
continued with the singing partly or entirely of nine An-
tiphons and closed with several versicles and responses
and a Prayer. The Chants for this Ceremony may be
found in the Pontificate Bom., Offic. Hebd. Sanctce and
Cantorinus Bomanus.

II. On Good Friday a Lector reads the Prophecy
Ucee dicit Dominus in the Tone of a Lesson, and then
the Choir sings the Tract Domine audivi: The Celebrant
says Or emus, Flectamus genua and the Prayer Deus, a
quo, in tono simpl. fer. The Subdeacon sings, in Epistle
tone, the Lesson In diebus Ulis: and as soon as the Choir
has concluded the Tract Eripe me, the Passion according
to St. John is sung as on Palm-Sunday. From the words
Post hcec autem the Deacon of the Mass sings the remain-
der in the usual Gospel tone. The Priest then sings the
nine Prayers as at pages 108 — 112.

The Prayers concluded, the Priest at the unveiling
of the cross alone intones the Antiphon Ecce lignum;
from in quo solus the ministers join him, and the choir
answers with Venite adoremus, as follows:

l ) In ostiolo nbi Feria V. in Coena Domini reconditur Ss. Euchar.
Sacramentum, non licet apponi sigilluin; et eo recondite- non potest
«antari: Sepnlto Domino. S. R. C. 7. Dec. 1844.

191

Sacerdos. Sac. cum Ministris. Mod. VI.

$E^E^^SH^^E^feEEEEE^^EE*S«ä

Ec-ce li - gnuni cm - eis , in quo sa - lus mun - di

pe - pen - dit. I£. Ve - ni te ad-o-re - mus.

This Antiphon is sung three times, the voice being
raised a tone higher at each repetition. During the ado-
ration of the Cross, the Choir sings the Beproaches (Im-
properia) Popule meus, and then the Hymn Crux fidelis.
During the Procession of the Blessed Sacrament from
the altar of reposition, the Hymn Vexilla Begis prodeunt
is sung, and may be continued during the Ceremonies up
to the Pater noster.

After the Orate fratres the Celebrant sings : Oremus,
prceceptis salutaribus . . . in tono feriali He says Amen
in a low voice, and then sings in ferial Tone without
Oremus, Libera nos, the Choir answering Amen.

III. The Blessing of the Paschal Candle on Easter
Saturday is followed immediately by the 12 Prophecies,
which are sung in the Tone of a Lesson; thus:

Tonus Prophetiae.

Punctum. Monosyllaba.

In principio creävit Deus coelum et ter-ram. Dixitque

Dixit ad

et accentus acutus. Interrogatio.

feEMEEfcfeE^E*

Deus: fi - at lux. Quid vis, fi - li? Eequievit

eum: Abraham, A-bra-ham.

Sic finitur Prophetia.

die septimo ab universo opere, quod pa-tra-rat.

192

Each Prophecy 1 ) is followed by Oremus, Flectamus
genua etc., and the Prayer sung in tono simplferiali.

After the 4 th , 8 th and 12 th Prophecies the Choir sings
a Tract. 2 )

After the blessing of the Font and the Litany of the
Saints (see page 177) Mass begins with Kyrie eleison sung
after formula first in the Ordinarium Missce. The Gloria,
at which the Organ is played, and the Prayer are to be
sung in Tono festivo.

After the Epistle the Celebrant sings:

Äl-le lü - ja.

This he sings three times, commencing a tone higher
each time, and the Choir repeats it after him, each time
in the same tone.

After the third repetition of the Alleluja, the Choir
continues with Confitemini and the Tract Laudate Domi-
num. After the Gospel and Dominus vobiscum the Organ
can play on up to the Preface as there is no Offertory.
After the Communion of the Priest, Vespers, which on
this day are united to the Mass, are commenced. The
Choir intones the Antiphon Alleluja and the Psalm Lau-
date Dominum, then repeats the Antiphon. There is no
Little Chapter, Hymn, or Yersicle, but the Celebrant
then intones the Antiphon of the Magnificat, as follows:

:^ — "— w ^ =i==tfPWf=W=>i--3feE

Ve-spe-re au-tem Sab - ba - ti.

') After Prophecy 12 th the Flectamus etc. is omitted.

2 ) The six Prophecies with Prayers on Pentecost Saturday, but
in the sequence of 3 d , 4 th , 11 th , 8 th , 6 th and 7 th of Easter Saturday, are
to he sung in the same manner; the choir singing after the 2 nd (4 th )
Prophecy the Tract Gantemus, after the 4 th (8 th ) Vinea facta est and
after the 3 d (11 th ) Attende caelum; aU found in the Appendix to the
latest edition of the Officium Hebdomadce Sanctce.

193

The Choir begins at quce lucescit . . . and sings the
Magnificat 8 th Tone, 1 st ending. As soon as the Antiphon
is repeated, the Celebrant sings Dominus voMscum, Ore-
mus etc. in tono festivo, Dominus vobiscum, and then the
Deacon Ite missa est, Alleluja, Alleluja (p. 135).

CHAPTER 39 th .
VARIOUS LITURGICAL FUNCTIONS WITH CHANT.

I. The Procession of Corpus Christi is carried out
in various ways in different countries and Dioceses. As
this Manual only deals with what is decreed for the Roman
Liturgy, it will not trouble itself with the peculiarities
or abuses of localities. 1 )

The Bituale Bomanum prescribes the following Hymns
for this Procession, which may be intoned by the Priest
when he comes to the foot of the Altar and kneels coram
Sanctissimo. The melodies complete are in the Bituale
and Processionale Bomanum.

l ) It will be sufficient to give in the following paragraphs the
principal Decrees of the S. R, C. against prevalent abuses:

1) Concentui musico (vulgo la Ban da) dum sacris Processionibus
intervenit, assignetur locus ab Episcopo, verum ante utrumque Clerum.
S. R. C. 23. Sept. 1837, 7. Bee. 1844.

2) Cantores in Processionibus Ss. Corporis Christi, aliisque solemnibus
cotta induti incedere debent, et servandum Ccerem. Episc. in Cap. II. libri I.
S. R. C. 8. Oct. 1650.

3) In actu expositionis Ss. Sacramenti debetne cani aliquid a Choro,
seit Celebrante? Resp. Cantus in actu expositionis permitti tantum potest
judicio Episcopi. Deer. cit. ad 14.

4) In benedicendo populum cum Ss. Sacramento Celebrans
nihil dicere, Cantores et Musici nihil quoque canere interim
debent ad prcescriptum Rit. Rom. et Caßrem. Episc, non obstante
quacumque contraria consuetudine. Die 12. Jun. 1627,9. Dec. 1634,
11. Maji 1641, 3. Aug. 1839. Et idem aliis Decretis declaratur.

5) An in benedictione populo impertienda cum Ss. Sacramento permitti
possit cantus alicujus Versiculi vernacula lingua concepti, vel ante, vel
post ipsam benedictionem? Resp. Permitti posse post benedictionem.
S. R. C. die 3. Aug. 1839 ad 2.

Magister Choralis. 13

194

1) Pange lingua glo-ri - 6 - si.

-1-*-

■1-

ift

2) Sa-cris so - le-mni-is jun-cta sint gäu-di - a.

Öi

?■

i*=g

3) Ver-bum su - per-num prod-i - ens.

4) Sa - lu - tis liu-ma-nae sa-tor.

*=*

*=jt

i&=

*»fc

5) iE-ter - ne Rex al- tis -si -me.

[I a . The Devotion known as the "Forty Hours Ado-
ration" 1 ) extends over three days. On the First Day,
there is the Mass of Exposition. After Mass a Procession
is formed, during which the Hymn Pange lingua (intoned
as above) is sung alternately by the Choir, and by those
taking part in the Procession. When the Procession is
over and the Blessed Sacrament placed on the throne
prepared for it, the Litany of the Saints, as on St. Mark's
day, with a few changes (to be found in the Comp. Antipli.
p. 40*), is chanted, with the Prayers &c; concluding with
JExaudiat nos Sc. and Fidelium animce dc. On the Second
Day there is a solemn Votive Mass pro Pace at a side
altar, but without Gloria or Credo; and on the Third Day
the Solemn Mass of Reposition is celebrated at the prin-
cipal altar coram SSmo. On the Third Day the Litanies
are sung before the Procession, but only up to the verse
Domine exaudi etc. inclusive] then the Procession takes
place, and after the Procession, (the concluding verses
of the Hymn Tantum ergo and Genitori being sung at

J ) [For the full ceremonial of the "Forty Hours Adoration" see
Manuale Sac. Ccerem. by V. E. Mge. Forde V. G. Duffy, Wellington Quay J

195

the Altar, and the chanters at the end of the Hymn
adding Partem de ccelo etc.) the Celebrant sings the
Prayers as on the day of Exposition, all concluding with
Benediction of the Most Holy Sacrament.]

II. On extraordinary occasions, e. g. the first Mass
of a new Priest it is customary in some places to invoke
the Holy Spirit before the Mass, for which the following
Antiphon may be employed:

Modus VIII.

Ö5&4=^=^S!E!!=El

Ye-ni sancte Spi - ri-tus. x )

Usually however it is the Hymn 2 ) Vent Creator with
the J., I£. and Prayer Deus, qui corda fidelium etc.

;qE:-^piEE?

Ye-ni, Cre - a- tor Spi-ri-tus.

y. Emitte Spiritum tuum et crea-bün-tur.
1$. Et renoväbis fäciem ter-rse.

III. Benedictio Pontificalis.

The Pontifical Blessing is given by a Bishop in two
forms; one, when a sermon is preached within the Mass
and an Indulgence published. In this case the Preacher
having concluded his sermon, remains in the pulpit, and
the Deacon going to the foot of the Bishop's throne sings
the Confiteor as at page 134, genuflecting at the words
Tibi Pater and Te Pater.

After the Confiteor, the Preacher publishes the In-
dulgence in the form prescribed in the Cceremoniale Episc.

1 ) The complete chant wUl be found in the Processionale Romannm,
Compend. Antiph. and Cantus diversi.

2 ) Outside of Paschal time the last strophe of this Hymn runs thus:

Deo Patri sit gloria, \ Ejusque soli Filio,

Cum Spiritu Paraclito, \ Nunc et per omne sceculum.

13*

196

cap. XX V. Then the Bishop sings in tono simpl. fer.
the words : Precibus et mentis JBeatce Marice semper Vir-
ginis, Beati Michaelis Archangeli, Beati Joannis Baptistce 7
Sanctorum Apostolormn Petri et Pauli, et omnium San-
ctorum, miser eatur vestri omnipotens Deus, et dimissis
peccatis vestris, per ducat vos ad vitam ceternam. ^jiElESEEF

To which the Choir answers on one note Amen.

Then the Bishop continues, u Indulgentiam, absolutio-
nem et remissionem peccatorum vestrorum, tribuat vobis
omnipotens, et misericors Dominus." ElElElEffi

Choir answers: Amen.

Then assuming the mitre, the Bishop blesses the
people more consueto, saying: — "M benedictio Dei
omnipotentis Pa ^ tris, et Fi ^ Hi, et Spiritus ^* Sancti
descendat super vos, et maneat semper J' EiESElElE

Choir answers: Amen.

The second form is when celebrating or presiding at
Solemn Mass the Bishop gives the Blessing at the end
of Mass, thus:

y. Sit nomen Domini bene - di-ctum.
I£. Ex hoc nunc, et usque in sge-culum.

y. Adjutörium nostrum in nomine Do-mini.
I£. Qui fecit coelum et ter-ram.

*M-

Benedicat vos o-mni-po-tens De- us, Pa-ter, et Fi-

li - us, et Spi - ri - tus sanctus. *) I£. A-men.

l ) A Benedictio Tempestatis, sometimes even with the B. Sacrament,
is expressly forbidden. This form can be used however by whomso-

197

IV. On Solemn occasions of Thanksgiving the Hymn
Te Deum is sung.

Te De - um lau - da - nius.

Should the Te Deum be sung at the close of a solemn
Procession, then the Ritual prescribes five special ver-
sicles with Domine exaudi and Dominus vobiscum] in
other cases the two following are used:

f. Benedicämus Patrem et Filium cum sancto Spi-ri-tu.
I£. Laudemus et superexaltemus eum in sse-cu-la.

y. Benedictus es Dömine in firmamento coe-li.

1$. Et laudäbilis, et gloriösus, et superexaltätus in sse-cu-la.
y. Domine exäudi oratiönem me- am.

1$. Et clamor meus ad te ve-ni-at.

V. The Roman Ritual contains under the heading
JExsequiarum Ordo all the Chants prescribed at the inter-
ments of Adults and Children aud for the Officium De-
functorum. As the Exsequiale Romanum published sepa-
rately and with the sanction and revision of the S. R. C.
gives in full all the Chants and Intonations to be used
in the Office and Mass for the Dead, we give here only
what appartains to the Celebrant or Priest presiding.

Parochus. Cantores.

Ant Si i-ni-qui-ta-tes. Ps. 129. De profündis clamavi

M-

j^^^^^g^^^^g !^^*

ad te Dömi-ne, * Dömine exäudi vo-cem me -am.

■ever may have the privilege from the Pope or the Bishop of impart-
ing the Blessing in solemn form, but in this case he must observe
the directions of the Rituale Romanum (Tit. VIII. Cap. 32. Ed. typ.)

198

Si i-niqui-ta-tes observäveris Dömine, Dömine, quis sustinebit ?

Parochus. Cantores.

Ant. Exsul-ta-bunt Domi-no. Ps. 50. Mi-se-re-re me-i, De- us,

^gfe=^EEE^1^EJEE»^£

secundum magnam miseri-cör-di- am tu - am.

The Chanters intone the Besp. Subvenite, the Clergy
(Choir) answers. The Prayers which conclude with Per
Christum Dominum nostrum, or Qui vivis et regnas in
scecula sceculorum, should be sung in Tono feriali p. 108,
the others in simpl. fer. p. 109. After the Libera me?
Domine, the Priest sings:

Pa - ter no-ster. secreto.
and after the Incensation and Aspersion:

c a

y. Et ne nos inducas in tentatio-nem.

c a.

I£. Sed libera nos a ma-lo.

c a c a

y. A porta in-feri. 1$. Erue, Domine, dnimam e-jus.

c a c c

y. Bequiescat in pa-ce. 1$. Amen.

c a

y. Domine exdudi orationem me-am.

c a

1$. Et clamor metis ad te ve-niat.
y. Dominus vobiscum. etc.
After the Blessing of the grave the Priest intones:

Cantores. E " £° SUm -

Cant. Be-ne - di-ctus Dö-minus De - us Is-ra-el; *

2. Et e - re - xit cornu sa - lu - tis no-bis *

199

1. quia visitavit, et fecit redemptiönem pie -bis su - se. II

2. in domo David püe-ri su - i.

In Exsequiis parvulorum, lie sings:

Cantores.

Sit nomen Dömi-ni. Ps. 112. Laudäte, püeri, Dominum:

laudäte no-men Dö-mi-ni. II

OBSERVATION. For the reception of the Bishop
when coming to hold a Visitation or Confirmation we
must refer to the Processionals Bomanum. For Ordina-
tions, Consecrations of Churches or Altars, handy extracts
from the Pontificate Bomanum are published and the
Cantorinus Bomanus also serves.

APPENDIX.

o-o-o

CHAPTER 40 th .
UPON ORGAN ACCOMPANIMENT TO GREGORIAN

CHANT.

For centuries past the Organ has become so domesti-
cated in the Church that it has come to be regarded as
par excellence the musical instrument of the Church. 1 )
Although the liturgical books never consider it so abso-
lutely necessary that solemn functions could not be cele-
brated without it, yet they give very explicit rules and
directions to regulate its use in the Church, telling us
when and how it should be played.

l ) "Hoc solo instrumento utitur JEcclesia in diversis cantibus, et in
prosis, in sequentiis, et in hymnis, propter abusum histrionum ejectis aliis
communiter instrumentis" writes Mam. Zamoeensis in Gtekbekt, Script.
Tom. II. p. 388. The Ccerem. Episc. remarks: potest in ecclesia Organum
.... adhiberi and adds this express warning: Nee alia instrumenta
musicalia addentur, nisi de consensu Episcopi; see Lib. I. cap. 28, Nr.l&ll.

200

Further on we shall say how the Organ should be
manipulated in Church, here we content ourselves with
laying down some fundamental principles and rules for
the accompaniment of Gregorian Chant, a task of such
formidable difficulty to those who are inexperienced or
who have not had occasion to receive special training in
this branch of Organ playing.

The first thing to be borne in mind is that the Gre-
gorian Modes (scales) are essentially different from our
modern (major and minor) scales; consequently any at-
tempt to harmonise them according to the rules of modern
harmony will be a disastrous failure. The Fundamental
Eule therefore must be: "The Harmony of the Church
Modes, should on no account alter or interfere with the
melody; the melody must in all cases and circumstances
predominate; and the accompaniment should be strictly
diatonic as far as the harmonic laws of cadences permit."
As Gregorian melody was formed and practised long be-
fore the discovery or development of harmony, the latter
in regard to it must be regarded as something adven-
titious, a "necessary evil", which even under the best
possible conditions of both Instrument and Executant,
renders imperceptible the delicate shadings of Text, De-
clamation and free Rhythm which constitute the inherent
charms of the Chant. Nevertheless as the Organ proves
so useful, and oftentimes becomes indispensable to sustain
the voices in weak or imperfectly trained choirs, the Or-
ganist must beware of falling into the temptation of try-
ing to vamp up at a moment's inspiration an accom-
paniment made up of a senseless conglomerate of major
and minor chords devoid of all natural cohesion, and
should study and keep steadily before him the peculiari-
ties and characteristics of the several Church Modes.

As answer to the question 'what notes should be
employed in the accompaniment of Gregorian Chant so

201

|as to produce a correct harmony' let the following para-
graphs serve, although they are only the private opinions
of the Editor. As regards the fundamental Bass and its
harmonies these rules are founded on the established
practice of the great Masters of the 16 th century, while
as regards the treatment of the Gregorian melody they
rest on the principle already enunciated, that the accom-
paniment should never obscure it, but only serve as a
gentle support, leaving the melody to dominate clearly
and distinctly.

I. GENERAL RULES.

1) The richer or more elaborate the melody placed
over a single syllable, the simpler should be the accom-
paniment. Let a chord be selected which will serve as
an accompaniment to at least three notes of an ascend-
ing or descending neuma.

2) The final note of a Gregorian melody should re-
gularly be accompanied by the same note in the Bass,
so that the note of the melody be the octave, and the
final chord contain a major third.

3) As every note of a Gregorian melody may be
treated either as Prime, Third or Fifth of a major or
minor chord, so let there be drawn the Triads of the
Final and Dominant in the first line, and those of the
five notes 1 ) common to the authentic and plagal modes

\ in the second line, which together with their two inver-
sions, are quite sufficient for clothing the diatonic melody
in appropriate harmony.

4) Besides these triads and their inversions (the
second inversion is used by Palestrina only in syncopated
passages or with a retarded fourth or octave) the chords

l ) Triads on h natural on account of the diminished fifth are^ ex-
cluded, on the other hand the first inversion as chord of the sixth
/(d—f—b) is very useful.

202

of the sevenths of the diatonic scale other than the
dominant seventh may also he used.

The chord of the Dominant Seventh is, however, both
in its original form and in its inversions, excluded. Yet,
by way of exception, a seventh is permitted after the
triad in cadences or gradually descending phrases.

gzz:

-s —

=t=±

zj=t

E.g.

-o-

:^j

i=p=|=

5) As penultimate chord in most cases the chord of
the Dominant (modern sense) can be used, thus on c for
the V. and VI. Tones, on d for the VII. and VIII. Tones,
and also on a for the I. and II. Tones, if the penultimate
note of the melody be not c. For the III. and IV. Tones
we must use the so-called Phrygian cadence. 1 )

6) Dispersed harmony is as a rule to be recom-
mended; the four parts should be so arranged as that
eventually they could be sung by Soprano, Alto, Tenor
and Bass.

7) For writing in white or open notes let ^ = o,
N =■ ö'r, and tf = j. The notes of the Bass and middle
parts may be distributed by points and ties in such a
way as to correspond to the value of the Gregorian notes
they accompany.

8) When the singers breathe at the signs i I, or
pause at the melodic sections or at the punctuation of

203

the text, let the organist lift his hands off the manual
and cease with the singers. He must peremptorily go
colla voce, be intimately bound up with the expression of
the singers, follow them slavishly in all the rhythmical
variations of tone, declamation, etc.; and in order to do
this he must keep the text before his eyes.

9) It is permitted to modulate in the accompaniment,
f that is to adopt c#, f§ and g% in an inner part, when the

Gregorian melody closes with mi -re, la -sol or si -la. As
fa\ can never occur in a Gregorian melody, the major
or minor triad on si natural is excluded. In transposing
up or down the same rules mutatis mutandis are to be
observed.

10) The Bass as a rule should move in contrary
motion; in an ascending melody however the motus rectus
in thirds or tenths may be used. If many words are
sung to the same note, as e. g. in the Psalms, then
motus obliquus comes in.

11) When the choir alternates in solo and chorus, or
when boys' voices alternate with men's voices, the ac-
companiment should also be varied, a change being ef-
fected by the use of three part harmony or four part
without the pedal. The stops should be drawn in pro-
portion to the strength of the choir and never so as to
drown or cover the voices.

12) The Preludes should be on some phrase borrowed
from the melody about to be sung, and played either with
accompanying harmonies or in the contrapuntal, imitative
style. The same may be said of the Postlude. Imme-
diately before or after the Chant the playing should be
in free rhythm without bar-fetters.

II. SPECIAL RULES,

1) In the first and second modes c under d is best
harmonised through /or a and then g minor and d major;

204

-/t\—

!EE S

e. g.

A modulation by means of e mo/or in the movement
h a is allowed. The formula a g should never be accom-
panied by d g, but / c or /' g.

Bad. Good. Good.

Pfc

_F=:

_0_

3=t=

§>*=*

i=t

2) The third and fourth Modes often require in the
Bass the middle cadence a d; the close is to be made
with chords of d minor and e major, or d minor, a minor
and e minor; the latter especially in Antiphons followed
l)y the Intonation g a c; e. g.

Al - le - lu - ja. Di - xit Do - mi - nus etc.

5 «

'9t

«=

In the fourth Tone the closing phrase a, ft, g, f, e,
requires as accompanying Bass notes d, g, c, d, a, for e);

JL —",

f(T\ <=5 *— >

\S)J • — C=> ,— >

*«■*

J °

""""-

e. g.

P^S

t i_JL

205

3) The fifth and sixth Tones can be treated as the
modern keys of c and / major; as a modulation c, b, a
is to be coupled with c, e—a;

e. ff.

5 6

'9fc

~0~

±t

4) In the seventh and eighth Tones
the regular close a g is to be made
with D G; e. g. j^

=*=!

But in the middle cadence a, g, with F C, or A E;

e. g.

«=

5) In the ninth and tenth Tones \Ep
the principal cadence h, a is made \ »

with 6 a in the Bass; e. g.

^tt=

Middle cadences are #, F, or e, d, which may be
harmonised in the following manner:

-§ 1

rrH o

«k,

ivy c== cr>

(^>

|XT

or jf

* )•

S <=>

<=> •— '

<=>

.. .- <— »-,

<=s

6) The eleventh and twelfth Tones can be treated
as the modern scale of c major.

206

OBSERVATION. The great need of having some
systematic method of harmony for Plain- Chant, has given
rise to various schemes, especially of late years. In Rome
the Chant is never accompanied, et hoc laudo\ in France
the cantus firmus is usually given to the Pedal in the
organ, or to a deep bass wind instrument; and the har-
monies constructed thereon, oftentimes meaningless and
unconnected, make the Chant itself heavy and wearisome.
F. A. Gevaert and the Abbe van Damme, two Belgian
virtuosi, lay down as a fundamental law, that the accom-
paniment should be strictly diatonic, and that no note -
should appear in the accompaniment that does not exist
in the melody. This system, in melodies of a small
range, would reduce the possible chords to a very
limited number. The late Father Schneider of Ehingen
would harmonise Plain -Chant without any diesis or flat
(jt or i?) appearing even in the cadences. J. GL Metten-
leiter gave to each note of the melody a distinct chord,
mostly however according to the laws of two-part counter-
point (nota contra notam); — a system which demands
great executive ability on the part of the organist, so as
to keep on with the melody in this endless succession
of chords, and produces decided monotony, for most of
the chords and chord-relations of the same kind will be
constantly recurring. Dr. Witt finally in his organ accom-
paniment" to the Ordinarium Missce adopts the diatonic
system, but with perfect harmonic closes, not overlooking
however the rhythmical movement of the Chant; and to
this end he allows connected notes, and neumas or phrases
that must be sung rapidly and together, to be accom-
panied by held-down chords, a change being made to a
new chord when some important note in the passage
demands it. "The advantages of this theory," he says
in the Preface, "are fourfold; a) the accompaniment is
"easier to play because many notes have not a distinct
"chord; b) it suits the simplicity of the Chant better,
"and therefore is less monotonous; c) in the melodies
"themselves all the notes are not of equal importance
"(accented); many are 'passing notes', and this is decisive
"for my theory; and lastly it allows the melody to be
"more prominent, for a melody over a held-down chord
"stands forth much more boldly, and is therefore more

207

"effective," A choice between these different systems, —
all diatonic however, — is of course a matter of taste:
The editor of the Magister Clioralis, after testing all of
them, selected Witt's system as the best, and in con-
junction with Herr Hanisch prepared the organ accom-
paniments to the new official edition of the Graduate
Romanum, now published by Pustet. 1 ) A perusal of the
Preface to Witt's Organum comitans will repay the in-
terested inquirer. We would again beg leave to caution
Organists who may use these published accompaniments,
against a mistake not unfrequently made, that of regard-
ing the flats or sharps in the beginning of the stave, as
the signature of our modern keys. Their presence only
indicate that the pitch has been transposed, and they are
placed there to preserve the original position of the
semitones of the mode, and not to indicate a key.

As a preparation to this method of accompaniment
observe what follows:

1) As several notes of the melody are accompanied
by one and the same chord the difficulties of accompani-
ment are diminished; consequently even an indifferent
Organist can keep himself in line with the singers and
follow them. .

2) In a melody or phrase all the notes have not the
same musical accent; consequently some may be regarded
and treated as passing notes particularly if they fall on
the same syllable.

3) A multitude of chords oppress and obscure the
melody; in this system it is preserved limpid and clear.

4) Finally this method of accompaniment responds
better than any other to the simplicity of the Chant and
excludes monotony.

') Organum comitans ad Ordinarium Missce, 1888, oblong folio. —
Organum comitans ad Grad. Rom. oblong folio, 2 nd edit. 1883 & 1884.
Org. comit. ad Vesperale Rom. oblong 1 folio. From these are extracted
and published separately a) Hymni Ves-gerarum, b) Transpositions har-
monica?, both by Hanisch. This last serves as a complete accompani-
ment to Psalterium Vespertinum.

208

The following examples will illustrate what we have
been saying:

Modus I.

1$. De - o o grä ti - as.

szzsrf^ziio f

rf^-CJ .

5 £= =teF

-/T\-

mH&zä

0^ O"

h=r

- d - d . y-M "

szzd:

j o \>A

t — a-

fe= ^F^

Modus II. transposed to the fourth above.
f. Gloria Patri, et Fili - o, * et Spiritu - i san - cto.

^-"^t

=3=

ä 4=t-

-Ö-

Modus III.

I£. Et facta ejus intellexerunt u

nt.

-te

'B'

3s:

-£2_L_£2_

■Gi-

feg

«:

^-*o) J

=!=*=

Modus IV.

1$. De - o grä - ti - a - - - s.

:s=£

S^S

-^-

209

Modus V. transposed a third down.

mon

SEE?:

K=fc

Ac-ces-si-stis ad Si -on *

tern,

:<s:

5b=

«=

et ci- vi-tä-tem De - i vi - ven-tis, Je-ru-sa-lem

s=s=^-

is^zzo:

:^:o"g

-pa

~R -es-R^ 5 -es-~

-es^--

S2— es-

C03

le - stem, et te- sta-men - ti no - vi

=I=-Ö

-^W_^

-^^^r-^^-^-p— S—^-

-es-

- cs e^h

5s:

-es — es-

P^4^

-i — i — p

me-di- a -to - rem Je - sum, et sän - gui-nis

=t;

es — es-

- ö ---p :

I I - - -es- R r^ ft I

7 es. — es — es

-es=-

-sL^tt

«=

a-sper- si - 6 - nem me - li - us lo - quen - tern

jt .--.-L •-.- r^ i J -

-es-e^ — es-

^Sf

_sdC!o.;

*i=r*

_C2_

=es=P=^

Magister Choralis.

210

quam A

E^2

bei.

äs

g=> Bed -

Modus VI. transposed one tone higher.

in do - mum Za-cha-

?EO!EÖS^e

fe'-J-J-ft

SrfiL^ZÄ

Intra- vit Ma- ri- a

ri - se, et sa - lu - tä - vit E - li - sabeth.

Q> Q>~

: — — J — Q w — wi_

O-

^-ol

^»

J^jJ,

■©■

35. 551

-O-

Modus VII. transposed down a minor third.

i=^tz^=EÄ*z^=S

quern con-sti - tu - it

-©-

Fi-de-lis servus et pru-dens

Ptt

y=t

211

Do - mi-nus su - per fa- mi- li - am su - am

^s C5 ~

IÖ"

is^a

gg ~^ ^

rft^

♦=&==&

jorr

ut det il

lis in tern

po-re

tri

ti - ci men - sü - ram.

MÜt

/C\

zoz^zcs

5«

^-p-a-

•gg-esh

ö ®-

- o O ' 10 ^ :—: o

-@ — ^

T-^-Sf-

Modus VIII.

I£. De-o grä-ti-as, al-le-lü-ja, al-le-lü

ja.

/T\

fm o cd -^r^

— -f

*^W

i iR

w- P"cd < :

2^:

SP^

. JJ -

SEES

' O o

:s^ w o :

14*

212

Modus IX. & X. transposed down a minor third.
An-ge-lis su is De - us mandä

~gs o~es~

1=^0-

:c^j

■^

1=fc

t=tt

vit de

te, ut cu-sto

3s^^2Eöt^3±

sdt

do w ^Jo

f*r

F=> -s-

©v

-o — si-

IE:

älW-

^-<s-

-F 2 — o-

di-ant te in 6

nmi-bus vi

ä=

=£=s3z±:

:^z=l=ö:

^"^

aHt— ^— &•

te=«t=d=te^ll

^=2^

-s s-

:s~

IS.

=}— s-

5^^

-o-

-O-

;

213

Modus XI.

I£. De

Li-

ZO_

-ö s-

fO O*"

-o-

:^zr_

^f^~ — r

-f=

-s — F 2 '

T*^t

-^~ ^L— ö-i

:sg o:

~as~

3SIZ7IZ

+ — o-

grä - ti - as.

1^3

-oo— ö^r: SE

Modus XI. transposed a fifth down.

lse - tä

W=^=H:

w=*

:g** r

Be - gi - na coe - li,

re,

ffi

214

al-le - lü - ja, Qui - a quem me-ru- i - sti

4=4

IS5SS

-©-?

_^_o.

^U-i

-J

25:

por - ta - re, al-le - lu-ja. Ee- sur- re- xit,

-p-©-

=£=:t

i= h-^-

i» h©- p^r
I I

J- J-

-=_ S-

-©-

«=s

5tt

F=F

j^L

-©-

t=±

sic -ut di-xit, al - le

lü

ja. O-ra

h©-

-53

3SC

R— ©-

"<=> <=>

-©-

^ — S2-

pro no - bis De - um. AI - le

lü - ja.

+*4

:^z^.

iS S<

-eL-W-

-©-

pzp:

215

Modus XII. transposed a fourth down.

Re - gi - na cce -

rum.

**F=tf

_&.

^=_s^

Ö=Ä=

-R

A - ve

-^- c^

-s-

:p=^

A - ve Do - mi - na An- ge - 16

rum.

si 0> + ©"

r^E

4 Ö-

iS -^- ^

"O"

Sal

ve ra - dix, sal - ve por-ta,

:^s:

4=l

-JN-

^ j j^J-

-^-sE

ss:

3=p|

.J-^L- g-g-

exquamun-do lux est or - ta: Gau-de, Vir-go

+-=d— d-©-

-Ö-

-b

-S-

351

©s§=E=a^

i |

3S 0"^

216

glo -ri - 6 - sa, su-per o - mnes spe- ci - 6

sa:

~o^d _

1 J i -a s:

-isi-

-s>-

-+TT^H &-

g ^~~

*=*

-o-

le, o val - de de - cö - ra,

et pro no

bis Christum ex - 6

ra.

When several Gregorian melodies in different Modes
follow one another in quick succession as in the Anti-
phons and Psalms of the Canonical Hours, it will be
necessary to maintain an uniform pitch, in order that
the tone colour of the voices may be the same. Con-
sequently the Organist should be capable of transposing
rapidly on the organ any given melody to any pitch above
or below. To be able to succeed in this there is no
other royal road except constant practice in reading all
the clefs, unremitting study, so that no difficulty can
arise that has not been foreseen and overcome, and that
nothing may happen to render his playing unsteady or

217

uncertain. In short, conscientiousness, severe self-criti-
cism, practical and theoretical study of the scores of the
old masters, these are the true diplomas of a good or-
ganist. This can never be repeated too often.

We cannot condemn too strongly the deplorable
habit and yet so common of improvising on the organ
capriciously. Whatever comes into the head at the mo-
ment, that is dropped from the fingers, whilst for the
same service the singer dare not sing without rehearsal,
and is bound to his notes, nor the Preacher enter the
pulpit without preparation. If many of these organ im-
provisatori could only see in print or written down what
they have thrown off as a Prelude or an Interlude they
would blush for very shame, and thereupon resolve to
set themselves to study their art and never leave off
until their printed Preludes and Interludes might no
longer bring that blush to their cheek.

We may close this chapter with a short quotation
from the musical historian Ambros. 1 ) "The innate vital
"power of these chants is so great, that even without
"any harmonization, they can be made available for the
"most intense expression, and nothing is required out-
"side themselves to bring out their full meaning; whilst
"on the other hand, for the richest and most artistic
"harmonic treatment, they furnish inexhaustible matter,
"and their accumulation through the course of centuries
"form a treasure, of which art has now the benefit. Music
"has waxed strong from the mighty vitality of Gregorian
"Chant; she has been formed on the base of its melodies,
"from the first rude attempts of the Organum, of Dia-
" phony, and Faux Bourdons, down to her highest per-
fection in the Palestrina style."

') Geschichte der Musik. Vol. II. p. 67.

^-^^-^

PART III.
FÜRTHER NOTIONS OF PLAIN-CHANT

I. GENERAL INSTRUCTIONS.

CHAPTER 41 st .

TO THE CLERGY AND CLERICAL STUDENTS.

The zeal and industry with which the Clergy in the
earlier ages cultivated the Chant, is a matter of history. 1 )
From the same source we may learn, how the Church,
not only adopted the words of Ecclesiasticus, cap. 44, 5
C'Laudemus viros gloriosos et parentes nostros in genera-
tione sua . . . in peritia sua requirentes modos wiusicos, et
narrantes carmina scripturarum"), as suitably describing
the characteristic virtues of many amongst her Saints;
(In Comm. Conf. Pont.) but also embellished her entire
Ritual, and brightened it up with the songs of holy and
enlightened men; and Bishops, Priests and Clerics vied
with each other in rendering in a worthy manner the
splendid melodies of St. Gregory; and Councils encouraged
the conscientious study of the same. 2 )

') Laicus in ecclesiis non debet recitare, nee Alleluja dicere, sed psal-
mos tantum sine Alleluja. Theod. of Canterbury. (See Oerbert, De Cantu,
T. L, p. 243.)

2 ) To complete the references already made to the work of National
and Provincial Councils in furthering the study of Plain-Chant we
annex the following extracts: In grammatica et superioribus scientiis
instruantur (clericij, non autem in cantu figurato, sed gregoriano (Cone.
Neap. 1869). — Invigilent (Episcopi) diligenter ne cantus exponatur con-
temptui; modo quo executioni mandatur; . . . chorusque a peritis in cantu
gregoriano regatur; quod vix obtinendum est, nisi studiosa Juventus, prce
mundana Ecclesice musicam addiscat. Dent igitur operam rectores colle-
giorum seminariorumque, qui tarn admirabili zelo juventuti instituendce se
devovent, ut cantum gregorianum alumni apprime doceantur (Cone. Quebec.
1851). — Doctorum hominum investigationibus audi excitatique Clerici
omnes cantum firmum seu planum . . . summo studio excolant, ac canora

219

"If then," writes Jannsen, "we address ourselves to
the Clergy first, we do so under the firm persuasion that
the study of Plain-Chant and its good execution depend
principally upon them .... But it is, alas! too true, that
many amongst them, through carelessness or want of
knowledge in this matter, furnish the best possible rea-
sons for its decay and depreciation. We are forced to
say with Cardinal Bona "TJt fatear quod res est, pudet*
me plerosque ecclesiasticos vivos totias vitce cursu in cantu
versari, ipsum vero cantum, quod turpe est, ignorare"
(Be cantu eccl. §. Ill N°. I) 1 ) Stein, who in his excel-
lent little book 2 ) extends the duties of the Priest as
Master in his Church, also to the department of Church
Music, mentions, that formerly musical culture was espe-
cially to be met with amongst the Clergy, and that the

suavique voce promere sciant. Hujus cantus frequentes lectiones in majori-
bus et in minoribus nostris seminariis hdberi, ac de eo bis in anno examen
fieri volumus et mandamus (Coc. Burdigal. 1859). — In Seminariis lectio-
nem cantus omnes frequenter adeant, ut clerici, cum ad sacerdotium fuerint
evecti et ad regimen alicujus ecclesice vocati, scholas cantorum instituere
valeant, ejusque prceesse exemplo sancti Gregorii Magni non dedignentur;
et ita, vel per se vel per scholares, publicum officium faciant expleri
(Cone. Tolos. 1850). — Cantus gregoriani schola in omnibus seminariis
esse debet. Hanc Episcopi publicis experimentis, prwmiis propositis et pros-
sentia ipsa sua, Gregorii Magni exemplum imitantes, excitare ac decorare
curent. Clerici omnes cantus ejusmodi scliolam frequentent. Mansionarii,
Magistri chori et prcecentores hanc cantus ecclesiastici peritiam legitimo>
comprobent experimento (Cone. Urbinat. 1859). — Curent Episcopi, ut in
seminariis scholam cantus fgregorian.) . . . omnes clerici tempestive fre-
quentent, nee ex facili ad sacros ordines admittant, quos, nulla excusante
legitima causa, earn neglexisse vel non satis profecisse compererit (Cone.
Eavenn. 1855). The National Synod of Thnrles in the Chap, de Eucha-
risiia, can. 38, says: "Nidlus cantus nisi gravis, et ecclesiasticus , in Ec-
clesiis adhibeatur. Rectores Seminariorum curent, prcepositis etiam pros-
miis, ut alumni in Cantu gravi et ecclesiastico bene instituantur :" See
Preface for the Synod of Maynooth. The Council of Laodicea (in the
4 th century) decreed: "Non oportet nisi canonicos cantores qui suggestum
ascendunt, et ex diphtera seu membrana canunt, alium quemlibet in Ec-
clesia psallereP

x ) Methode (les vrais principes) du Chant Gregorien. H. Dessain,,
Malines.

2 ) Die katholische Kirchenmusik nach ihrer Bestiynmung und ihrer
dermaligen Beschaffenheit. Köln, Bachern.

220

greater and better portion were only turned away from
it when the degenerate style of Church-Music was first
introduced, but with unpardonable carelessness they re-
mained inactive. "But for this indifference the ignorance
we have now to deplore would never have become so
great or so universal." *)

He therefore counsels scientific instruction in singing,
at as early an age as possible; and if at all feasible, in
the Pianoforte and Organ, for those who aspire to the
Sacred Ministry. "If in early life the education of the
future Priest does not embrace the science of music and
its practical application, later on, when he enters the
Ecclesiastical Seminary, and is engrossed by other and
more important studies, this instruction can no longer
be efficiently imparted. Here it will be too late to begin
the musical education of a young man; too late even to
direct him in the proper rendering of the simple litur-
gical Chants of the Altar." Proksch: 2 ) "The Priest him-
self in his Church, must be a Singer, even if he only
have to sing at the Altar: for he has the supervision of
the Church Music, of the popular chants, and of the

*) May we venture to hope, that by reason of the greater interest
awakened amongst the Clergy, and their deep penetration, the words
of Fr. Bollens in his deutsche Chor algesang in der katholischen Kirche,
p. 180, may have lost their force. "Instruction in Gregorian Chant
is mostly entrusted to men, who are utterly ignorant of its principles,
and who fail to command the attention of their pupils, whereby the
Singing Lesson becomes an hour's recreation and amusement. The
Teacher is satisfied if his pupils can sing the Collects and the Preface
tolerably, or intone the Gloria or Be Missa est; a feat however which
he can get few to accomplish." "Sunt etiam plerique Clerici vel Monachi,
qui artem Musicai jucundissimos neque sciunt, neque scire volunt, et, quod
gravius est, scientes refutant et abhorrent, et quod si aliquis musicus eos
de cantu, quern vel non rite, vel incomposite proferunt, compellat, impu-
denter irati obstrepunt, nee veritati adquiescere volunt, suumque errorem
suo conamine defendunt." Guido of Arezzo, see Gekbekt, Scriptores,
T. II. p. 51. One would think these words were written in the 19 th
oentury instead of the 11 th so well do they describe the present
•condition of affairs.

2 ) Aphorismen über katholische Kirchenmusik. Prag, Bellmann.

221

Organ-playing . . ." Antony: 1 ) "If however many person»
seek to excuse themselves on the ground, that in the
matter of musical capabilities nature has treated them
after the manner of a step-mother, and consequently they
do not know their errors in singing, nor how to correct
them; they are bound nevertheless to avail themselves
of external aid, in order to work out, what they, left to
themselves, are not in a position to do; for it is written:
(James iv. 17) Scienti igitur bonum facer e, et non facienti,
peccatum est Uli" Amberger: 2 ) "Whoseever enters the
domain of Liturgy, is as much bound to learn Gregorian
Chant and to sing, according to the mind of the Church,,
as he is to be a faithful observer of the Rubrics" "Even
though every one may not be able to produce or to ap-
preciate that wonderful unison of Tone, and those most
tender movements of the heart of the Church, yet it is
the duty of every one, with holy joy, to set value on
the songs of the Church, and not to put them aside with
indifference; to try and understand their truth, their
beauty and their power, and not through neglect of ne-
cessary practice, or through clumsy rendering of them,,
deprive them of all feeling. Every one should try and feel
more and more the beauty of Plain-Chant, in order that
he may sing it with devotion." "Let no man say: — the
people understand very little about it — ; you sing in the
name of the Church, to the honour of her eternal Spouse;

*) Archäolog. liturg, Lehrbuch des gregorianischen Kirchengesanges.
Münster, Coppenrath.

2 ) Pastoraltheologie, IL vol. From page 216 to 234 the writer
enumerates various motives to encourage the study of Liturgical Song.
The pastoral letter of the Bishop of Ratisbon, on the question of
Church -Music, must also he mentioned here. C. Sev. Meister writes
in his valuable work "das katholische deutsche Kirchenlied": "The Chant
of the Church is an essential part of public worship; its history is a
portion of Church history; the knowledge of it, from an historical and
liturgical point of view, is part of theological science? See also Durandus?
Rationale divinorum ofjßciorum, Lib. IL De cantore, de psalmista etc.

222

but you must also be persuaded that through this elevating
chant, the hearts of the faithful are effectually reached."

On the other hand the following remarks are worthy
of the Cleric's attention: "The Singer should be a man
of prayer:" St. Bernard: 1 ) Sunt quidam voce dissoluti,
qui vocis suae modulations gloriantur, nee tantum gaudent
de dono gratice, sed etiam alios spemunt. Tumentes elatione
aliud cantant, quam libri habeant, tanta est levitas vocis,
forsitan et mentis. Cantant ut placeant populo magis quam
Deo. Si sic cantas, ut ab aliis laudem quceras, vocem tuam
vendis, et fads earn non tuam, sed suam. Viros decet
virili voce cantare, et non more fosmineo tinnulis vel falsis
vocibus velut histrionicam imitari lasciviam. The expression
"castigatio vocis" when the Amict is given in the ordi-
nation of a Sub -deacon may also be understood in this
sense. In the book known as Instituta Patrum we read:
Nee volubilitate nimia confundenda quce dicimus, qua et
distinctio perit et affectus ... cui contrarium est vitium
nimice tarditatis. — Jerome of Moravia 2 ) adds : Nunquam
eantus nimis basse incipiatur, quod est ululare, nee nimis
alte, quod est clamare; sed mediate, quod est cantare. —
And finally Cardinal Bona: Receptum a majoribus can-
turn integrum oportet, et illibatum custodire, ne si semel
aberrare coeperimus a semitis antiquis, quas posuerunt
Patres nostri, paulatim inconsultis emtationibus religionis
integritas destruatur.

Denique damnati sunt Uli, qui parcentes vocibus suis
rapinam faciunt in holocaustis, qui vitulos scilicet labiorum
suorum Domino redder e negligentes , vel dolorem capitis
vel stornaclii debilitatem, vel exilitatem vocis prcetendunt
ad excusandas excusationes in peccatis: cum r ever a totum
in eis sibi vindicent mentis evagatio, distractio cordis, car-

*) See Bona, Div. Psalmodia, cap. XVII, de cantu Eccles, §. V.
2 ) In Coussemacker, Scriptores.

223

nis inertia, et propria salutis incuria. Non enim conside-
rant, quod, qui a communi labor e se subtrahunt, communi
etiam retributione carebunt, et qui Ecclesiam Servitute,
proximum cedificatione , Angelos Icetitia, sanctos gloria,
Deum cultu defraudant, ipsi quoque Dei gratia, sanctorum
suffragiiSy Angelorum custodia, proximi adjutorio, Ecdesm
beneficiis se reddunt indignos. Eis enim, qui legitime
canunt, et sapienter psallant (inquit Rupertus Abbas) re-
muneratio vel premium erit cowmen ceternum.

CHAPTER 42 d .
TO CHOIR-MASTERS.

The Choir -Master or Conductor is the very soul of
the Choir, animating and governing it. On him devolves
the duty of teaching his Choristers Gregorian Chant, and
securing by every means within his reach, that its simple
but heavenly melodies be rendered in a becoming and
edifying manner. This pre -supposes a thorough know-
ledge, theoretical and practical, of the Ancient Modes
and Melodies, for the soul must have a body; but no
knowledge howsoever extensive, if unaccompanied by a
just esteem of the Chant itself, and of the honourable
position it occupies in the Church's Liturgy, will ensure
its being worthily rendered, for the body without the
spirit is dead. Here however we encounter the first
great obstacle to the proper teaching and rendering of
Plain- Chant; for, most Catholic Choir -Masters, whilst
thoroughly well grounded in the principles of modern
music, and conversant with the manifold and marvellous
adaptabilities of the major and minor mode; — (which
date only from the latter half of the 17 th century;) —
carry their researches no farther back, and when you
speak to them of Gregorian Chant, they turn away from
you with a contemptuous shrug of the shoulders, as if

224

you broached a subject utterly out of joint with all
correct notions of music or things musical. We there-
fore venture to enumerate what may be regarded as the
necessary qualifications of a Catholic Choir-Master.

1) He should have a knowledge of the Latin tongue,
as the Liturgical text is all written in that language. 1 )
Without a fair knowledge of Latin, he cannot understand
the sentiments conveyed in the words, and therefore
cannot give the just expression to these words, or to the
melody in which they are clothed; for it should be ever
remembered, that in Ecclesiastical Chant "the text is the
master, the notes the slaves." If however any Conductor
be not acquainted with Latin, a translation will be of
some assistance, although it may not give the precise
meaning of every word. It is also desirable, as we have
remarked in a previous chapter, that he should under-
stand and know how to use the Ecclesiastical Calendar,
or Directorium (Or do); in order that he may find the
Chants prescribed for the day or season, and regulate
their performance in accordance with the requirements
of the rubric. The conscientious Choir- Master would
moreover be careful to teach his singers the meaning of
the words they are called upon to sing, and explain the
mutual relations of Word and Tone.

2) The Liturgy is so beautiful in itself, and conveys
so clearly the mind of the Church in her various solem-
nities throughout the year, that no Catholic who observes
it closely and strives to understand it, can fail to be in-
fluenced by that peculiar spirit which animates the Church
herself, and gives force and meaning to the several fun-
ctions of her public worship. Now the Catholic Choir-
Master who seeks to discharge his duty faithfully, must

*) We specially recommend "The Catholic's Latin Instructor" by
Eev. E. Caswall. London. Burns & Oates.

225

allow this spirit to take possession of him; he must as
it were live with the Church, and enter into her feelings;
— weep with her in her sorrow and exult in her joy; —
otherwise he can never realize for himself or those under
him, the meaning of the occasion which she solemnizes,
or of the words which she employs. No matter how
great his musical talents otherwise may be, the Choir-
Master who cannot identify his way of thinking with
that of the Church, as expressed in her Liturgy, and
who fancies that he adequately discharges his duty by
merely making music whilst a religious function is being
gone through, is deficient in one of the most important
qualifications for his position.

3) The particular occasion or Festival, 1 ) also serves
to determine the style of Intonation, the rhythmic move-
ment, and the more or less solemn delivery of the Chant.
On High Festivals, even the singing of the Psalms should
approximate in its movement to the melodic Chants of
the Graduate or Antiphonariuni, while on less solemn
Feasts and Ferias, it should have throughout the cha-
racter of mere recitation, be sung quicker and on a lower
tone. Even the melodic chant may be sung quicker on
these occasions. In Bequiem Masses, the voice should
be subdued, yet clear, pitched in a quiet tone, but not
comfortless.

4) The Tone of each piece, its compass and pecu-
liarities, should be carefully explained, in order that the
special character of each of the modi may be clearly
understood and conveyed; and the Singers should be

') The Inst. Patr. distinguishes three classes of Festivals. On
great occasions one should sing with his whole heart, and soul, and
voice; on Sundays and Feasts of Saints more quietly; on ordinary
days, the manner of chanting should be so regulated, that all may
sing carefully and devotionally, without straining of the voice, with
feeling and without fault (cum affectu absque defectu)*

Magister Choralis. 10

226

trained to strike unwonted intervals with accuracy and
without hesitation, and to master fully the melodic or
rhythmical difficulties which may occur in a piece.

5) A clear understanding should exist between the
Organist and Choir-Master, as regards the pitch of each
piece. As high and low voices unite to sing Plain-Chant,
the pitch should he so regulated, i. e. transposed, as that
the entire piece can be sung by all with equal power
and without any extraordinary effort. l ) The division of
the choir into two sections, such as Chanters and full
Choir, or Boys and Men, or upper (Soprano and Tenor)
voices and under (Alto and Bass) voices, so that the
several periods of the melody may be sung alternately,
and occasional emphatic passages be delivered by all
united, varies the Chant and renders it easy and animated,
whilst it obviates many difficulties which in the continuous
chant of a piece by the full choir are unavoidable.
Different chants following one another alternately should
be so transposed as to have approximately the same
pitch and character.

6) The Choir-Master should be thoroughly acquainted
with the power and capabilities of his Singers, and only
allow those to sing, who are sufficiently instructed in the
Principles and Practice of Plain-Chant, and are possessed
of sound tuneful voices, and a good distinct pronunciation;
The flippant saying: "for Plain- Chant any voice is good
enough," betrays not only gross ignorance and contempt
of art,, but also unpardonable irreverence towards the
consecrated Chant of the Catholic Church. Young fresh
voices when singing up the scale, and especially when
the higher notes are touched are in danger of going out
of tune; this should not be allowed, and it is the duty

l ) See quotation from Jerome of Moravia page 222.

227

of the Master, quietly and without delay (by a stronger
or quicker delivery of the voice) to bring them back to
the normal tone.

7) The quantity (i. e. length or brevity) of the syl-
lables must be specially attended to, for the varying
rhythm of speech, and absolute freedom in delivery,
unfettered by any bar - measurement , form the grand
features of Gregorian Chant. The long and short notes
should never be subjected to any law of a mechanical
metronome. We recommend Chapters 8 th and 9 th of this
Manual to the careful perusal of Choir-Mas ters. 1 ) Steady
and marked motions of the hand should direct the Singers
to bind together the several note-groupings, the Words
and Phrases in alternate slower and quicker enunciation
and with stronger or weaker accent into one perfect
whole. 2 )

8) The subdivision too of the piece into Phrases,
Periods and Sections depends in a great measure on the
Conductor. The breathing places are indicated by the
words and the perpendicular lines or bars drawn across
the stave, while for Pauses the signs of punctuation mark
the natural place. The Syllables of the same word should
never be separated. If however such a number of notes

*) Eev. F. X. Habeel in the Magister choralis states it as the
result of his own experience, that a choir of from 15 to 20 mixed
voices can sing with greater ease, swing, and unity, from one copy
of the Folio edition of the Graduate Romanum than from ten copies of
the octavo edition; and then adds; "our forefathers made no blunder,
when after the discovery of printing they had the Choral Books
published in Folio."

2 ) [A writer in the "Tablet" of Sept. 9 th 1876 giving a reason for
the excellence of the Plain-Chant singing in Batisbon Cathedral says
that "every note is led by the conductor's baton, and thus expression
is gained by emphasis being placed upon certain notes and passages.
No comparative value as to time is given to the notes themselves, but the
length of time they are sustained, and the force with which they are
sung, are made entirely subservient to the meaning of the words,
as interpreted by the conductor of the choir." W. H. Beewer.]

15*

228

must be sung to one syllable as to necessitate a rest for
breathing, then the Choir -Master should before hand
mark a suitable place in the neuma, where the entire
choir may take a short, almost imperceptible breath. A
wise discretion in regulating the speed of the movement,
is another desirable qualification in a Choir-Master. Where
there is a small number of choristers he should be on
the alert to prevent too great haste, and where a large
number, too great a tendency to drawl. Where these
two faults are not guarded against, the clear distinct
pronunciation of the words and the pure just intonation
of the notes suffer; and when such elements are wanting,
Gregorian Chant becomes contemptible, indeed ridiculous.
As a rule the style of singing Plain -Chant, should be
lively, crisp, fresh, at times very animated, always with
an easy rhythmic swing throughout, and not that wretched
habit of slow, lumbering, tedious drawling, which has
already earned such a bad name for Liturgical Music,
and in which the voices are certain, as the piece ad-
vances, to sing out of tune.

9) The Conductor should also determine the degree
of strength or softness of the note and the increasing
or decreasing of the voice in the several members or
phrases. The effects of piano, forte and crescendo are
not to be overlooked or neglected in Plain-Chant, although
no uniform rule can be established, and still less should
written marks of expression be in the Choral Books, be-
cause adventitious, effects and phrasing are more of a
hindrance than a help, and quickly lose their charm.

10) From all that has been said it is evident that
conscientious and persevering practice is of paramount
importance. Where the Choir-Master does not exercise
his Choristers by continual practice, and keep them alive
to the sanctity and importance of the duty they discharge,
but trusts everything to chance, and to his long er-

229

perience and acquaintance with the subject matter, no
blessing or good result can be expected from Gregorian
Chant rendered by such a choir. More than any other
kind of Music, Plain-Chant should be deeply, attentively
studied, and again and again rehearsed, if its performance
is intended to be effective; for "Gregorian Chant is a
matter of no easy acquirement, as the large schools of
past centuries and the examples of learned and holy
men can testify, but it demands earnest and profound
study." *) One or two special or general rehearsals will
never enable a Choir to prove itself effective in the dif-
ferent pieces to be chanted during the various religious
functions. These rehearsals, special and general, «must
be regular and constantly recurring, and must embrace
not only the younger or less instructed members of the
Choir, but all the members, and the Chants should be
repeated again and again until even those who are ac-
customed to trust to their neighbours, and thereby be-
come such an unpleasant drag both on Conductor and
Choir, are made thoroughly sure of their work. A tho-
rough and continued instruction is the forerunner of a
good, natural, easy, certain, worthy and edifying Chant.

CHAPTER 43 d .
FOR ORGANISTS.

The observations of the last chapter are also appli-
cable to Organists, especially when the two functions of
Choir-Master and Organist are united in the one person,
as is most frequently the case. A glance, moreover, at
the remarks made on the Organ and its employment in
Plain-Chant, in the Appendix to the 2 nd part, will clearly
establish the difference that exists, 1 st between a Pianist
-and an Organist, 2 nd17 between a right skilful Organist in

*) Amberger, 1. c. p.

230

a general sense and one whose duty it is to accompany
the Chant. The Organist, in a Plain- Chant Choir, should
lead the singers, facilitate the delivery of the Chant for
them, and by a clear, steady and correct playing of the
Plain-Chant melody, regulate and control its movement.
The employment of the Organ in the several portions-
of the Liturgy, and at the various seasons of the year r
is regulated by formal Decrees of the Church bearing
on the subject; 1 ) and the sacredness of the functions and
sublimity of the text which it is called on to accompany,
should influence the style of playing to be adopted.

1) The accentus of the Celebrant and Sacred Mini-
sters at the Altar should never be accompanied, and

l ) Bened. XIV. Bullar. magn. Cone. Mediol. I.: Organo tantum in
ecclesiis locus sit; tibice, comua, et reliqua musica instrumenta exclu-
dantur. The S. E. C. furnishes the following Decrees on the Organ.

1) Quoad Organi sonitum strictim servanda est Cozremonialis dis-
positio non pulsandi Organa in Dominicis sacri Adventus, et Quadra-
gesimcB ad Missas solemnes? et Vesperas, non obstante consuetudine, et
abusus est eliminandus. Die 11. Sept. 1847. Taurinen. Gardellini
n. 5117 ad 1. Et die 22. Julii 1848. Florentina seu Ordinis
Minorum de Observantia. n. 5126 ad 2.

2) Organa in Dominicis III. Adventus, et IV. Quadrages. pulsari
debent in Missa, et in Vesperis tantum, non vero in aliis horis Cano-
nicis. Die 2. Aprilis 1718. Beneventana. n. 3905 ad 3.

3) Organa non silent, quando Ministri Altaris Diaconus scilicet, et
Subdiaconus utuntur in Missa Dalmatica, et Ttmicella, licet color sit
violaceus. Die 2. Sept. 1741. Aquen. n. 4119 ad 9. Et potest servari
consuetudo pulsandi Organa in Missa Rogationum et tempore Quadra-
gesimce, Adventus, et Vigiliarum, in Missis votivis B. M. V., quaz in
singulis Sabbatis solemniter celebrantur, et in ejusdem Litaniis, quo?
post Vesperas decantantur. Die 14. April. 1753. Coimbricen. Dubio-
rum. n. 4233 ad 4. Et die 3. Aug. 1839. Piscien. n. 4858 ad 9.

4) Si partes divini Officii, vel Missce omittantur in Choro ob sonitum
Organi, turn submissa voce dicenda, quo3 omittuntur: quando vero non
pulsatur, integre sunt cantanda. Die 22. Juli 1848. Sen en. n. 5102 ad 4.

5) Servari potest consuetudo pulsandi tantum Organum ad respon-
dendum, dum in Missa cantatur Ite Missa est. Die 11. Sept. 1857.
n. 5102 ad 6.

6) Sonus Organi toto rigore potest intermisceri cum cantu, quando-
in Missa solemni seu Pontificali integer Symbolus in notis, seu in
cantu Gregoriano et firmo cantatur in Choro. Die 22. Mart. 1862,
Sancti Marci. n. 5318. ad 7.

231

during the Elevation the greatest silence and devotion
should prevail. 1 )

2) The use of the Organ is forbidden during Advent
and Lent, (from Ash -Wednesday to the Gloria of Holy
Saturday) at Mass, or at the Divine Office, when de
Tempore. From this rule we must except the 3 d Sunday

1 of Advent (called Gaudete Sunday), 2 ) and the 4 th Sunday
(Lcetare) of Lent; on which occasions, as also on Festi-
vals celebrated ritu dupl. or semidupl. during these peni-
tential seasons, at solemn votive masses, and at the Gloria
of Holy Thursday, the Organ should be played.

3) The alternate phrases of the Kyrie, Gloria, Sanctus
and Agnus Dei may be omitted by the singers and only
played on the Organ, but then the words omitted should
be recited by one of the singers mediocri voce. This
permission however does not extend to the Credo, the
entire of which must be sung. 3 ) The Tract, Sequence,
Offertory and Communion may also be recited in the
manner described, when the Organ plays; but the Introit
should be sung entire {minus the repetition which may
be recited) as also the Gradual, or at least a portion
of it. In Vespers the Antiphons need not be sung after
the Psalms, but only recited; they should always be sung
before. The alternate verses of the Hymn may be recited
in the same manner.

4) With regard to the Mass for the Dead, a distinction
must be drawn between the Office and the Mass. At the

*) The Cceremoniale Episcoporum (from the beginning' of the 17 th
century) and several Provincial Councils speak no doubt of a quiet
and devotional playing of the Organ during the Elevation, and in
Rome, except in the Sixtine, this practice is universal, and therefore
may be tolerated.

2 ) When the Vigil of Christmas falls on Sunday the Organ is played.

3 ) Cum dicitur symbolum in Missa non est intermiscenditm Organum,
sed Mud per chorum cantu intelligibili proferatur. (Ccer. Ep. lib. I. N°. 10.)

232

Office the Organ should be silent; at the Mass however
if music, i. e. figured music be employed the Organ may
accompany the voices and cease with them. This per-
mission also serves for the Ferias of Advent and Lent. 1 )

5) Where the custom prevails of substituting the
music of the Organ for the Chant of the Deo gratias
after the Be Missa est, this practice may be continued,
according to a decree of the Sacred Congregation of Rites.
(11. Sept 1847, in Angelopol, ad 6.) Nevertheless the
practice of singing the response is more to be encouraged.

6) The Organist should employ and vary the stops
on his instrument according to circumstances, and take
special care that the delivery of the Chant may be en-
riched with all that light and shade, which the text
demands, and a well-played instrument can impart. The
Office of the Organ, — that of handmaid and guide to
the Chant, — precludes that bad taste which would have
good Organ- playing consist in a confused noisy jumble
of melody and harmony with every stop drawn out; be-
cause such a disproportion of sound between the voices
and the instrument intended to support them, renders
the hearing and understanding of the words utterly im-
possible. The judicious Organist "clothes the Chant,
"sometimes with lightest breathings and the most gentle
"lisping, sometimes with grave, majestic tones, that go
"on increasing in power and fashion themselves to har-
"monies, whose united sound grows louder and fuller,
"until the chanting of God's praises becomes like a head-
long mountain torrent that carries all before it, and
"consoles and lifts up the heart of the devout Christian." 2 )

x ) By the words of the Decree "Si musica adhibeatur", the Gre-
gorian Chant is excluded and may not be accompanied by the Organ,
äs by the word, mime« is always understood figured or polyphonic
music whether written with or without Organ.

Q ) Smeddink. II. Jahrgang. Ccecilia. p. 25.

233

7) Just intonation depends for the most part on the
Organist. When the Celebrant at the Altar intones, it
is much to be desired that his intonation should accord
with that of the choir, so that Priest and People, Pastor
and flock may praise God in unison. To this end the
Organist should close his Prelude or Interlude on the

) note on which the Celebrant should commence, or by
drawing a very soft stop, he may just touch the required
note, and the Priest, if he have a fair musical ear, will
have little difficulty in catching it up.

8) It is undeniable indeed that no amount of effort
or no mechanical appliance as yet discovered, will enable
a piped or keyed instrument, such as the Organ, to give
the verbal accent, as the human voice alone can; and
many rhythmical melodic progressions, call up strange
and unfriendly chords, which to a modern musician seem
illegitimate, and have thereby originated those various
systems of harmonising Plain -Chant, what we have al-
ready, spoken of. However these and similar difficulties
should not dishearten the young Organist, bat rather
urge him to greater study and more intimate acquain-
tance with the nature and characteristics of the Church
modes and of mediaeval harmony, that he may be enabled
on comparison, to see how very different it is from har-
mony in the modern acceptation of the term. All that
is to be desired is, that the worshippers in every Catholic
Church may be able to realize the truth of Cardinal
Bona's words: 1 ) "The harmonious tones of the Organ
"rejoice the sorrowing hearts of men, and remind them
"of the joys of the heavenly city, they spur on the tepid,
"they comfort the fervent, they call the just to love, and
"sinners to repentance." But to attain this desirable
end the Catholic Organist must also keep before his eyes

l ) Bona, div. psalm, c. 17, §. 2, ad finein.

234

the warning of the same pious and learned Cardinal:
"The playing of the Organ must be earnest and appro-
priate, so that it may not, by its agreeableness, draw
"to itself and monopolize the whole attention of the soul,
"but rather furnish motives and an opportunity, for medi-
cating on the words that are being sung, and thereby
"promote feelings of true devotion."

9) The Organist should never play in a wanton or
profane style, or themes that can have no connexion
with the Chants to be accompanied or the Function, that
is being celebrated. Except the Organ no other musical
instrument is allowed in Church service. Should it be
desirable on very solemn occasions to employ music scored
for Instruments, then the consent of the Bishop must
be sought and obtained for each occasion.

CHAPTER 44 th .

FOR CHORISTERS.

The system of musical training to be adopted in a
Plain- Chant choir, differs in many respects from that
usually followed in the case of harmonized Church-Music.
The rhythm of Gregorian Chant, so closely allied as it
is with the verbal accent, and the treasure of melody in
which it is so rich; — melody however, which to a singer
trained only in modern music often seems uncouth and
unmanageable; — furnish, for every class of voice> exer-
cises of such difficulty, that even a well- trained chorister,
at the first attempt, and without special instruction or
close study of the Gregorian Tone-system, will certainly
fail to render them effectively. Gregorian Chant requires,
besides good distinct pronunciation, a clear understand-
ing of the subject, a quick apprehension of its treatment,
and a carefully cultivated voice. Whosever therefore is
called upon to sing Gregorian, should in the first instance

235

be properly trained by a competent teacher, at least in
those places where such teachers might be reasonably
expected to be found; such as Cathedral Churches and
Ecclesiastical seminaries. 1 ) And he who can sing Plain-
Chant well, tunefully, and faultlessly, will be able to
sing any Church -Music that may be placed before him
in true Church style. 2 )

We will here set forth in one short paragraph the
qualification of a good Plain-Chant Chorister. "He must
obey implicitly and attentively every hint, word,- wish
and direction of the Choir -Master or Conductor, even
when they may be in opposition to Ms own better judg-
ment." This blind obedience, easy enough to a true
musician, should not spring merely from a love of order,,
but above all from a deep feeling of humility. "In
chanting," says St. Ambrose, "modesty is the first rule,
so that with him who gradually begins to sing or speak,
the principles of modesty may mark his progress." 3 ) A
genuine feeling of reverence for the Lord's house, will
never be content with having what is prescribed carefully
sung] but will strive, both in rehearsals 4 ) and performance,;
to express the meaning, importance, and liturgical raison
d'etre of the Chant itself, and make clear the end and
spirit of the Church in each of her solemn functions.
"Who can repeat the wonderful song of the Church, and
not be moved by it? Hence whosoever undertakes to-

*) The Council of Trent commanded that the Chant should be
taught in all Ecclesiastical Seminaries. Several National and Pro-
vincial Synods (including Thurles and Maynooth) reiterate this com-
mand; but in many places these Decrees are allowed to remain a
dead letter, for want of competent teachers.

•) Rev. F. X. Habekl makes it a rule to commence the musical
education of his boys with Plain- Chant.

3 ) Ambrosius de Offic. minist. L. I. c. 18.

4 ) "The first requisite," says an old theoretician, Jekome op Mo-
eavia quoted by Coussemack^ek. "is, that what is to be sung should
be clearly understood by all, beforehand."

236

sing Ecclesiastical Chants, must study to know and un-
derstand what are the feelings and sentiments, which on
her various Festivals, should come as it were from the
very heart of the Church, pass through the heart and
mouth of the Chanter into the hearts of all, and enkindle
in all a flame of uniform love. It is only thus that
Gregorian Chant can produce its legitimate effect." *)

Essential conditions for an earnest and effective
rendering of Plain-Chant is, a heart full of faith, a feel-
ing of joyful hope, 2 ) a recollected mind, 3 ) a spirit of
devotion, earnest prayer, 4 ) and the good intention of
doing all for the greater honour and glory of God. 5 )

"The Church has just reason to complain of those,
who with unpardonable levity, putting aside all the rules
of the Chant, alter and modify the Tones at pleasure,
substitute the weakness and agreeableness of the semi-
tone for the power and earnestness of the full-tone, who
make no distinction between long and short notes, or
study not to give their voices a character of devotional
tenderness and overlook the intrinsic worth of the Chant
itself, dragging it on lazily, as if it were a stone of great

*) Amberger, loc. cit. p. 231.

2 ) "Notes are good for nothing that come not from a joyful heart.
Melancholy people may have good voices, but they can never sing
well." Jekome of Moravia.

3 ) Whilst singing think of nothing else but what yon are engaged
at." Bernhard.

4 ) In the beginning of an old Psaltenum (now the property of
the Kreisbibliothek in Passau) written in the monastery of Seeon
A. D. 1434, we find the following prayer for Choristers. Deus, omni-
potens redemptor mundi, qui pro salute humani generis in hunc mundum
venisti, peccatores redimere pretioso sanguine tuo: exaudi orationem meam,
per quam ego indignus peccator te deprecor, ut psalmi, quos cantabo, digne
intereedant apud te pro peccatis meis. Creator mundi, cunctipotens Dens,
spes ardentibus, gloria resurgentibus , suppliciter per hos psalmos clemen-
tiam tuam imploro, quos pro salute vivorum sive defunctorum decantabo,
ut per eos a perpetuis eripias tormentis et premium ceternce beatitudinis
>concedas. Per Christum Dominum nostrum. Amen.

5 ) "If you seek the edification of your hearers when you sing, the
more you shun vanity, the more you will edify them." Bonaventura.

237

weight; now precipitating it in unbecoming haste, and
again vulgarising it by painful shouting, or by vitiated
or imperfect pronunciation of the vowels, or by the ad-
option of various other faulty mannerisms." ! )

"Bossuet's funeral orations when declaimed by a
good orator terrify and inspire one, but when uttered
by an indifferent reader, not only produce no effect, but
engender coldness and indifference. So is it with Plain-
Chant" 2 )

"Speaking to yourselves in Psalms and Hymns and
spiritual canticles, singing and making melody in your
hearts to the Lord" (Ephesians Y. 19.)

►oh$(o<

II. SPECIAL DIRECTIONS FOR CHANTING.

CHAPTER 45 th .

INFLUENCE OF THE TEXT AND PRONUNCIATION
ON THE NOTE-FORMS AND TONE.

In Chapter 7 th p. 30, when writing of the numerous
vicissitudes which the notation of Gregorian Chant has
undergone, mention was made of the fixed method of
noting the Chant now established in the authentic Choral
Books by the Papal Commission. The rendering of the
Chant however, as it should be in practice, is only al-
luded to there in general terms, and must now be more
fully explained in this the aesthetic portion of our work.

In modern musical notation we have abundant means
at our disposal by way of signs wherewith to express
and determine the acuteness or gravity, the length or
brevity, the strength or delicacy of a sound, as well as
the quicker or slower pace of any movement or of any

*) Ambbkgee, loc. cit. p. 233.

2 ) Cloet, Recueil de Melodies, Tom. II., p. 30*.

238

parts thereof. l ) In Gregorian notation however , since
the discovery of Guido's stave, only the fixing of the
intervals and the marking of the accented syllables in the
new Roman editions seem to furnish any safe guide to
the singer. But if we bear in mind the fundamental rule
for all Plain-Chant; "Potius considerandus est sensus quam
modulatio" ; — the text commands the tone; — further
indications are scarcely necessary. Is it not a well known
fact that the living word produces a very different im-
pression on the listener according to the talent and dif-
ferent training of the speaker, even though in each case
the expression marks be most rigidly adhered to? As a
rule a singer of good mental gifts and refined musical
feeling will only find himself embarrassed by the heavy
armour of the prescribed lights and shades, and will pro-
duce a more certain and better effect with the simple
"sling" of a tone connected with the word in an intimate
.■and natural manner.

OBSERVATION. The alphabetical letters of Borna-
nus, who taught in S* Gall fully a century after S* Gre-
gory were intended to serve as a means of teaching in
order that the pupil might the more easily remember all
the peculiarities of the Tones and other delicacies of a
manner of rendering the Chant that had to be taught
orally. But this private method attained no great popu-
larity and was soon outstripped in its fitness for fixing
the intervals by Guido's invention of the stave. The old
teachers relied for the method of singing the neumes
principally on oral tradition. They committed very little
to writing and that little by no means clear or deter-

*) These signs [expression marks] however are of comparatively
recent origin, and became desirable and even necessary according as
Instrumental Music, which of itself is music without words, — a sort
of playing with sounds, came into use in the 17 th century. Neither
Palestkina nor the vocal composers before and after him, nor
G. Fkiedeich Handel nor Seb. Bach, — the latter two at least not
to the same extent as was done at a later period, — relied on these
signs as a principal means of expressing their ideas.

239

mined. They all however unanimously proclaim, that,
"the note may serve to guide the intelligence, it cannot
create it. The mind when it employs words to express
its thoughts communicates to them with the breath of
the thought itself the desired expression .... He who
does not understand a language will endeavour with more
or less success to imitate him who does understand it;
but if in order to attain this result, signs of accentuation,
punctuation or notation may be found useful, we must
still recognise that of themselves they are insufficient and
may prove an obstruction. The error consists in expecting
from them the whole secret of good pronunciation, and in
concentrating the attention on these signs, so that the very
precautions taken to ensure a good result, oftentimes be-
come by their exaggeration the cause of ill-success." *)

Through the development and dissemination of mea-
sured music in the course of the centuries following the
year one Thousand, the notes or note-forms came to be
used to signify yet another thing, namely, the duration
of the sounds they represented. The punctum and virga
never had been employed in the earlier periods to indi-
cate the duration or time-value of the sounds, but as
measured music in its commencements also employed
the same note -forms as were used in Plain-Chant, viz.,
^, m, ♦, it soon became the custom in Plain-Chant itself
to sing all the Vir gee and Puncta, which then had the
formst, and *, with equal length and ponderousness, and
hence came the canto martellato style. Against this prac-
tice some voices were raised even in the 15 th century,
advocating the relative value of the notes as against
the absolute value given them by the mensural theory.
I refer to the remark of Peter Talhanderius (see above,
page 34) who would only employ the square stemmed
note 1, over accented syllables and in the clivis. Gui-
detti 2 ) sought to fix the varying length of syllables by
a new method. He introduced the diamond or lozenge-

*) D. Pothiek, Les Melodies Gregoriennes, p. 4.

2 ) He writes in the Annotationes ad Cantum Passionis, Romce, apud
Alex. Gardanum 1586: "Quoniani nonnullis quantum ad notas attinet,
hie canendi modus fortasse novus videbitur, sciendum, quod hsec
nota ♦ hanc vim habet, ut syllabam brevem esse iudicet, ac in pro-
nuntiatione eelerius excurrendum."

240

shaped note, ♦ for short syllables, and instead of the
strophicus he dotted down two or three notes bound by
a circumflex or tie, but as to the manner of singing them
he added: "ita proferatur, ac si triplici vocali scriberetur,
sed cum decore et gratia, quce hie doceri non potest;"
i. e. "one must double or triplicate the vowel yet with
a certain dignity and grace which cannot be conveyed in
any written instruction". He also found, especially in ,
the use of the diamond note many imitators down to
our own time, though there is always danger that the
syllable immediately preceding the diamond note will be
delivered too loudly, and the note itself in a hopping,
dancing manner. The Editio Mediccea published in 1614
had already laid aside this use.

Now that the official Choral books, which the present
Manual follows in reading and form of notation, are fully
published in typical editions, it seems convenient, partly,
in order to avoid misapprehensions about the notation,
partly in order to bring about a well-ordered and uni-
form rendering of the Chant, to formulate and illustrate
by examples the following rules based on principles of
tradition, of music, aesthetics and language. Their ob-
servance presents no particular difficulty in the syllabic
and simple chants; for the more elaborate neumatised
chants they are more important, as only the right group-
ing of prolonged series of neumes makes it possible for
the rendering to be effective, and in accordance with
the rules of rhythm, melody and language. Finally, it
may be hoped that these Rules will solve some of the
objections which are still made in certain quarters against
the authorised chants, and prove practically that in these
abbreviated forms of the melodies the essence of the
Gregorian Chant has been preserved.

All Rules must be based on this first principle:
"Sing as you speak".

1) If monosyllables are to be sung to single notes,
they are noted thus: a. Their duration is regulated ex-

241

actly by the vowel. According to the rules of Quantity,
all monosyllables ending in a vowel are long, also [mono-
syllabic] substantives ending in a consonant, except cor,
fei, mel, vir and os. Monosyllables which are not sub-
stantives ending in a consonant are short, as, üt, nee,
an, sed, quöt, in, äd, etc. Except nön, sin, eras,
cur, par and the adverbs on ic and uc\ — sic, hie, hue,
and his, quös, quäs, höc, häc.

In singing however it is not the metrical quantity
of the syllables but the accent which is of importance.
The latter is of two kinds, the long accent (circumflexus)
and the short or sharp accent (acutus). 1 ) Consequently
the rule just given must be modified as follows: a) mono-
syllables having a naturally long vowel take the circum-
flex, as mos, flös, jus, lux, spes; b) monosyllables with
a short vowel or having a vowel only by position 2 ) are
sung with the acute accent; c) prepositions are unaccented
when they stand before the words governed by them, for
instance post te, in me, etc. From these rules for pro-
nouncing monosyllables it follows that one and the same
note-form ■ which stands in the official books indiscrimi-
nately over such words as, de, te, sed, pax, spes, lux,
must be sung with various modifications of accent.

2) In a similar way words of two or more syllables
receive an ever-varying amount of emphasis according
to their different position and importance in the phrase

x ) In the examples which foUow the natural length of a vowel is
indicated by ~ , the accentus acutus by ', the circumflexus by ", and the
short vowels by w ; unaccented syllables bear no mark.

2 ) Position occurs, 1) when a syllable ends with two or three
consonants, as est, mens; 2) when the first syllable ends with a con-
sonant and the next begins with one, as \l-le, är-ma, pär-tus; 3) when
the first syllable ends with a vowel and the second begins with two
consonants, as, ä-ptus, etc. When a liquid (I, m, n, r) follows a mute
(all other consonants except s, x, z), the syllable becomes anceps
[doubtful]; in prose it is usually pronounced short in words of three
or more syllables, as, in-te-grum.

Magister Choralis. 10

242

qy sentence, although they have in syllabic chant the
same note-form ^ for all accented syllables and ■ for
other syllables.

It is therefore wrong to give an always uniform em-
phasis to words like Dominus or meo, because the o or e
happen to be accented, nor would it be right for instance
to sing thus; U m terra. päx liomlmb^s bönce voluntatis;
better thus; — et in terra päx höniimbüs bonce voluntatis. 1 )

3) When there are two notes to one syllable the
combination is either % (clivis), or w « and / (podatus)
(see chap. 7 th , p. 34). Clivis, also called flexa, is a com-
bination of the acute and grave accents. In the case of
accented syllables the first note is sounded more strongly
than the second, while the weight of the whole group
changes according to the importance of the correspond-
ing word. On unaccented syllables or words both notes
are sung equally light, though distinct. If we had for
instance a melody like this;

sed li - be - ra nos ,

the rendering should be:

-ei-

sed li - be - ra nos

The podatus is the flexa inverted. In the official
books the higher note is printed over accented syllables
thus >|. It must not be accented in a stereotyped cast-
iron manner but only receive an additional stress of the
voice when a larger interval such as a third, fourth or
fifth follows. Should the note immediately following be
on the same degree or only a tone or semitone lower

*) The syUables marked with " are to be prolonged and sung as
it were decrescendo.

243

then the stress is equally divided over the two notes of
the podatus; similarly on unaccented syllables. When
the note following is higher, then the emphasis is best
placed on the first note. Should we have for instance
to sing this melody:

sed li - be - ra nos ,
let it be sung thus:

sed li - be - ra nos ,
or in the following case:

-&-

-g-j oy -gs^-

sed li-be-ra nos sed li - be-ra nos etc.

In these cases therefore ^iz^ =:|p=3 l zj!z^z^ _ M _^^-

the second note is to be considered liquescent, smoothly
flowing and not as if accented.

4) A combination of three notes on one syllable is
either a) torculus (rffc, ^), where the second note is
higher than the first and third; in this case the stress
of the voice is equally distributed over the three notes,
and the higher note should not be accented or, b) scan-
dims (***, also *Hl), where the third note is the highest;
the same rules hold for it as for the podatus; or c) por-
rectus (fy* also pyQ, where the second note is lower than
the first and third; this is to be regarded as a combi-
nation of clivis and podatus and to be rendered accord-
ingly; or d) dimacus (fl^, also *^), which must be con-
sidered as similar to the flexa, On accented syllables it
gets a light emphasis on the first note, on unaccented
and final syllables it is to be sung with a slight decrescendo.

16*

244

5) All more complicated combinations of notes can
be reduced to these formulas and are to be rendered
according «to the rules just given, but always as con-
nectedly as possible, unless where breathing marks or
spaces indicate a slight pause. The greatest care must
be taken to avoid any postling or blundering. 1 )

Too much stress on the principal note of the group
gives the singing a character of affectation, too little
accent deprives it of the natural strength and rhythm 2 )
of the language and fatigues the voice by inducing a
dragging and monotonous drawling style. Moreover the
pace and character of the Chant, and the power of voice
at one's disposal are of great importance in determining
what amount of impulse should be given to the highest
note. Also great care must be taken that by a varied and
well-balanced proportion of the principal accents a natural
and dignified symmetry of the whole melody be secured.
Good accentuation and a certain solemnity and devout
unction 3 ) in the singing can replace a good deal of voice
power and considerably intensify the effect of the words.

But the most important factor of all is naturalness
which impresses on the rendering of the liturgical word
and tone a character of pious modesty and combines both
in expressive unity.

x ~) In the Bull "Docta Sanctorum" Pope John XXII complains that
the notarum ascensiones pudicce descensionesque temperatce" get confused
(offuscantur)) "currunt enim et non quiescunt, (get huddled together)
aures inebriant et non medentur."

2 ) As to the combinations of Tor cuius with Porrectus, Climacus or
Scandicus, we may point to an analogy in the English language. In
compound words the accentuation not essentially but considerably
differs from what it is in the simple words by themselves, as; field,
officer, — field-officer; evening, prayer, — evening-prayer, etc.

3 ) In connection with that musical judgment innate in man which
Cicero describes, as "aurium quoddam admirabile judicium, quo indi-
cantur in vocis cantibus varietas sonorum, intervalla, distinctio et vocis
genera multa." It is therefore a bad mannerism to hurry ascending
notes, and rush down descending figures and thus cause in the listener
a sense of Giddiness.

245

6) "In order that the text he understood, the ear
should be able to distinguish the words from one another,
and not only the words, but the phrases and sentences.
This effect can only be secured by a correct method of
pronouncing the final syllables of words, phrases and sen-
tences. Clearly there must not be too close connection
-between the final syllable of one word and the opening
syllable of the next, and this is a rule observed in de-
clamation where between the different words there is a
scarce perceptible pause, the tempus latens of Quintilian,
which being added to the final syllable makes it long". 1 )

7) "Attention to a good accentuation of the second
or third last syllable must never lead to the suppression
of that which follows it. The distinction of the words
which we advocate is not a separation. It would be
ridiculous to pause after each word in order that they
might be easily distinguished. Nor in considering the
final syllables of words as long, do we approve of the
custom of some singers to enforce it, as if it ever could
receive an accent."

8) "As a rule the meaning of the words also indicates
the places where the voice may rest when singing. 2 ) In
saying that the last note is to be prolonged, it is not im-
plied that the preceding notes may not be prolonged also
(and at the same time); it is indeed natural enough to pre-
pare the rest which has to take place on the final note,
by a gradual slackening of the pace on those preceding."

x ) These excellent principles (N os 6 to 9) are taken from Dom
Pothiek's "Melodies Gregoriennes". The Chapters on Duration and
Strength of the Sounds, Signs and Execution of the Groups of Notes,
Pronunciation of Latin, connecting- the syllables of one word in > sing-
ing, Divisions in Eeading and Singing, (Chapters 7—10) of this va-
luable book afford a great deal of information and instruction for the
correct rendering of the authentic Gregorian Chant.

2 ) "Moderator es cJiori, qui cJioro didasculi vocari solent constituünt
pausatores, qui signo aliquo pausas faciant, vel indicent, versusque prce-
cipitantes cohibeant." Bonaetius, de horis Canon. L. III. c. XX.

246

9) "The group of notes connected in the notation
must also be connected in the execution. If the groups
are separated in the notation by a space, they should
also be distinguished in the execution by a ritardando
of the voice at the end of each group , and if necessary
by a respiration. Only at the end of clauses the rest
should be complete and an interval of silence becomes
necessary. The closing notes must die away softly."

CHAPTER 46 th .
PSALMS. CHORAL READING.

I. The Poetry of the Psalms is most simple yet most
sublime; the loftiest sentiments are conveyed in concise
forms of words, but every word is pregnant with meaning
and capable of receiving the most varied expression. It
would not be easy to find more suitable melodies where-
with to invest those words, than the eight Gregorian
Tones with their various endings prescribed by the Church.
Sometimes indeed when we hear Vespers sung, we realize
the truth of Mendelssohn's words: "You cannot conceive
how tiresome and monotonous the effect is, and how harshly
and mechanically they chant through the Psalms, They
sing with the accent of a number of men quarrelling vio-
lently, and it sounds as if they were shouting out furiously
one against another" (Letters from Italy etc. page 169.)
But this method of chanting we need hardly say, is
against the spirit and the wish of the Church, and should
be attributed to inattention, ignorance of the language,
carelessness in pronunciation, imperfect training or de-
plorable indifference and indevotion. "The voice of the
Psalmist should not be harsh or untuneful, but clear,
sweet and true; Tone and Melody should correspond to
the sacredness of the service, and in the modulation of
the voice, christian simplicity, and not the art of the

247

theatre, should prevail." *) Would that every man, whose
duty it is to sing Psalms, repeated to himself with the
Royal Psalmist: "I will sing praise to Thee in the sight
of Thy angels" 2 ) and considered as adressed to himself
alone, those words, Psallite sapienter; then indeed the
many eulogiums lavished by the Holy Fathers and the
Church on the Psalm- Chants would appear reasonable
and just, and the counsel of St. James the Apostle come
to be understood: "Is any one of you sad? let him pray.
Is he cheerful in mind? let him sing?' (James, cap. V. v. 13.)

The Initium must always be solemn and slow, the
mediatio distinct, with the syllables judiciously distributed
amongst the several notes of the inflection; in the Finalis
the accented syllable should receive greater power and
duration of tone, and all should be careful not to do
violence to the text, or unduly prolong the final syllables.

Good chanting is in truth an art in itself, and can-
not be acquired all in a moment. Industrious practice,
constant attention to the rules of the language, and an
earnest spirit of harmonious cooperation on the part of
the choristers are indispensable requisites. To chant the
Psalms well, preparation is necessary in order to foresee
and overcome its difficulties beforehand, and avoid un-
becomingness in the House of God. The Recitation should
be dignified and easy, neither hurried nor drawling, and
with strict attention to the rules of the language, accen-
tuation etc. Adam of Fulda remarks "that between the
accent of Prose -speech and Psalm -singing it is well
known that there is no slight resemblance".

In festis solemnihus et duplicibus two Chanters in-
tone the first verse; in festis semidupl. and others of
lower rank, only one Chanter. The remaining verses

*) Isidoee of Seville, de eccl. offic.
2 ) Psalm 137, v. 1.

248

of the Psalm are sung, by alternate sides of the Choir,
but without the Initium. The words in each verse
should be carefully and distinctly enunciated. One side
of the choir should not begin a verse until the previous
verse has been concluded by the other; and a per-
ceptible pause should be made at the asterisk in the
middle of the verse, so that all may begin the second
portion together. If half of the verse, whether before or
after the asterisk, be very long, then it is the duty of
the choir-master to indicate one or more breathing places,
so that all the words may be sung evenly and together.
All the verses of a Psalm may be accompanied by the
Organ. The same rules hold for the Canticles (Magnificat
and Benedictus); except that in these the words are sung
more solemnly and slowly (tractius), and the Initium is
employed with each verse.

II. The manner of chanting the Prayers, Lessons,
Gospels &c. according to the Eoman Kite, may be classed
amongst the most effective arrangements of Gregorian
Chant, because of its extreme simplicity, suitability and
variety. Old theoreticians styled this manner of chanting
choraliter legere, or choral reading, and in their several
treatises give special directions for the correct rhythmical
rendering of the same. The notes are so few 1 ) and the
inflections so simple that they do not call for much at-
tention; but it is of the utmost importance that the pro-
nunciation, expression and rhythmical declamation of the
text should be carefully practised. The ring of the voice
will be different on Festive Days, from what it should
be in Masses of the Dead and Days of Penance. In pro-

*) "De sequalibus quidem vocibus nihil aliud dicendum, nisi quod
communis vocis impetu proferantur, in modum soluta oratione legen-
tis." Script. T. I. p. 104. Accentu regulantur qusecumque simplici
littera hoc est sine nota, describuntur, ut sunt Lectiones, &c. (Mar-
tyrolog. Usuardi ed. 1490 ad calcem.)

249

fane music there is an axiom: "Recitative is the real
test of a good singer;' 1 in like manner choral reading,
which so closely resembles recitative, demands great
earnestness and distinctness. Heavy cumbersome chant-
ing, unseemly jerking of the words, an affected tone of
voice, nasal effects, long drawling of final syllables and
little grace notes and unauthorised flourishes, omissions
of words or too quick reading of them, resulting in a
very faulty and indistinct rendering of the sonorous Latin
language, are all evils to be avoided.

Should the Choir have to answer a Responsorium,
the Organ when allowed should sustain with good sono-
rous stops, the strong but no shouting voices of the
Singers.

In the simple Chant of the Psalms, or of the Text
of the Ordinarium Missce, etc. to each syllable there is
for the most part but one note, seldom more than two
or three. For this reason this method of Choral Chant,
if we exclude the accentus which appartains to the Cele-
brant or Sacred Ministers, is justly esteemed the spe-
cially popular chant for the Masses; and in countries
where the Latin language is fairly understood, as in Italy
and Spain, the Hymns, Psalms, Litanies, Sequences &c.
are to the present day sung with wonderful eifect by
the congregation. 1 )

CHAPTER 47 th .

THE METRICAL HYMNS.

1) When the suppliant hears the voice of God through
the mouth of the Church, the desire for praise and sacri-
fice wells up in his heart, and finds expression in the
form of a Hymn. Joyfully and hopefully the soul is lifted

l ) Augustinus Confess. Lib. X. writes "Primitiva ecclesia ita psallebat,
ut modico flexu vocis faceret resonare psallentem, ita ut pronuntianti
vicinior esset quam canenti."

250

up to solemnise and ennoble in holy love the office of
the Day." x )

Through measured speech the feelings of the faithful
are more easily and more persistently aroused; there is
created at one and the same time an agreeable alter-
nation in the variety of the rhythm, and in the regular
though peculiar melodic form of the Hymn adapted to
the sustained swing of the poetic measure.

2) Eemembering what has been already said in this
Manual (Chap. 8 th ), here again we must observe the great
difference that exists between Bhythm and Metre. Even
in ordinary conversation there is a raising and lowering
of the voice or in other words we speak rhythmically;
when we bring back to the ear this rise and fall at fixed
intervals and at fixed points we speak in metre.

The metrical accent is quite independent of the verbal
accent; but in singing we must be careful to bring the
accent of the word in unison with the metrical accent;
in other words to allow the metrical accent to be heard
without overpowering the verbal accent.

3) Latin words are made up of long and short syl-
lables; the time necessary for pronouncing the latter is
styled mora, hence a long syllable requires about two
moras. From the setting together of syllables of fixed
length or brevity (quantity) arise the two-, four- or five-
syllable poetic feet (pedes). 2 ) A foot in versification can-
not contain less than four moras (metrum), eight moras
(i. e. two metra) at least are required to form a verse,
and at least two verses to constitute a strophe»

*) Ambeegee, Pastoraltheologie, Vol. 2, p. 440.

2 ) The principal two and three syllable poetic feet are called:

~~ pyrrhichius, -- spondeus, ~ - jambus, -~ trochceus or choreus, ww ~
tribrachis, - — molossus, - ~ w dactylus, ~-~ amphibrachis , - ~ -
anapcestus, >-'-/- bacclilus, - ~ - amphimaker or creticus, - - ~ palim-
bacchms or antibacchius. ^

251

The metrical hymns of the Breviary are set prin-
cipally in the following four metres:

a) Iambic in four or poetic feet 1 ) or six, 2 ) each
strophe containing four or five verses.

b) Trochaic in which each strophe consists of six
verses. The 1 st , 3 d and 5 th verses have four feet, the
2 nd , 4 th and 6 th only three and a half. 3 ) In the Hymn
Stabat mater there are two verses with four feet, and
one with three and a half; moreover the first and second
verses are in rhyme. In the Hymn Ave maris Stella the
strophe consists of four verses each of three trochaic feet

c) Sapphic and Adonic, with three verses to eleven
syllables, 4 ) to which as a fourth verse the so-called adonic
verse with five syllables is annexed.

d) Asclepiadic and glyconic with twelve syllables in
three verses; the fourth verse (glyconic) of eight syllables
being added on. 5 )

OBSERVATION. In the liturgical Text of the Gra-
duate and Antiphonarium we sometimes meet with Distichs,
e. g. Hie vir despiciens, and magnum pietatis opus, the
J. Virgo Dei Genitrix with the 1$. In tua se clausit, the
Gloria laus of Palm -Sunday and the like, where the
melodies are set in ordinary Choral rhythm, so that in
singing they are treated as Prose. Similarly we meet
Texts of pure hexameter, such as the Anthem of the

1 ) E. Gr. "Jam, lucis orto sidere", "Nunc sancte nobis Spiritus", "Rector
potens verax Deus", "Herum Deus tenax vigor", "Te lucis ante terminum ,T ,
"Jam sol recedit igneus", "Jesu coronaVirginum", "jEterna Christi munera" etc.

2 ) E. Gr. Beate Pastor Petre, clemens accipe or Egregie Doctor Paule r
mores instrue or Decora lux ceternitatis auream.

3 ) E. Gr. Lustra \ sex qui \ jam per- \ egit \ Tempus | implens | corpo- \
ris etc., or Pange lingua gloriosi, or Ira justi Conditoris etc.

4 ) E. Gr. Iste confessor, TJt queant laxis, Scepe dum Christe populus.
Jam faces lictor ferat etc.

5 ) E. G. Te Joseph celebrent, Custodes hominum, Sanctorum meritis.
In the last verse of this Hymn there are but seven instead of eight
syllables, and it is therefore called pherecratian. A union of three
metres (first two verses asclepiadic, third verse pherecratian, fourth
glyconic) is found in the Hymns Regali soUo, Nullis te genitor.

252

B. V. M., Alma Eedemptoris Mater, the Introit Salve
Sancta Parens, the Antiphon Solve jubente Deo, and to
which melodies in no sense metrical are adapted.

4) All Hymns, where the melodies are mostly syl-
labic, and only in rare instances marked with two or
three notes to a syllable, and composed to express the
verse-measure, should be sung in a flowing rhythm with
due attention to the metrical and verbal accent. Fre-
quently too the manner of singing the melody in the
first verse may not be available for the second.

In the earlier editions of the Choral Books, selecting
the note forms (^ H ♦) regard was had only to the strophe
which stood immediately under the notes; but in the
more recent editions (manuals and stereotyped) those
notes which in the second or third strophe should be
sung long or short according to the accent, were printed
with a ■, discarding the use of the ♦ and leaving the t\
in those places, where the accent requires it in all the
strophes. Thus for example in the Hymn Deus tuorum
militum the first strophe would have the following rhythm;

§£3jEE5EE^^^EEEÖ

De - us tu - 6 - rum mi - li - tum sors, et co - rö - na, etc.

the 2. Hie nempe mim-di gäudi - a et blanda fraudum etc.

the 3. Poe-nas cu - cur-rit for - ti - ter , et süs-tu - lit etc.

and similarly the remaining strophes. In the most recent
typical editions each strophe with its own melody is given
in extenso, and according to the variations of the Text
the melody repeated with the prescribed note Forms M or *(.

5) To remove the hiatus (see Chap. 11 th ) and not
break the order of the poetic measure, the closing vowel
of one word when the following word begins with a vowel
may according to the rules of poetry be elided. But in

253

the singing of the Hymns it is recommended to sing
distinctly all the syllables where elision might occur, and
to sing them to the note of the preceding syllable; e. g.

In the Hymn

Jesu Medemptor:

In the Hymn

Crudelis Herodes.

In the Hymn

Veni Creator:

In the Hymn

Decora lux:

:®:

crata ab etc.

5g=*|=3:

unda

ri - gi - nem etc.

e3=?

teque u - tri - üs - que etc.

* P" *— (♦) *— "*1 ftr

re - isque *) in a - stra etc.

In the Hymn
sola:

:»p=©:=^:

so - la ma - gnarum ur-bi - urn etc. 2 )

By a skilful and quick delivery no interruption of
the metre will be noticeable in these instances; however
to avoid confusion the Director should in the rehearsals
especially of the newer hymns with frequent elisions
frequently exercise the singers beforehand and mark the
places where they occur.

x ) Where two notes come on one syllable, as in this example, in
the Hymn Egregie Doctor, in universa cetemitatis and the like, the
note grouping should not be divided over the two syllables. In the
third verse of the sixth strophe of the Hymn A soils ortus cardine the
scansion should be as follows: Et la \ cte modi \ co.ya \ stus est; there-
fore the syllable di in modico should be thus provided for:

|!E^Epc

*♦'

et la - cte mo - di - co pa-stus est.

2 ) In the typical editions the tie or bind, as sacrata^ab is omitted,,
as it might easily lead to the omission of the syllable or to its being:
sung with the following syllable.

254

CHAPTER 48 th .
THE UNMETRICAL HYMNS, PREFACES, LITANIES, Ac.

I. To the class of unmetrical hymns belong chiefly
the Gloria and Te Deum. The Gloria should be sung
right through, from the intonation of the Priest *) to the
end, without prelude or interlude. The several phrases
may be sung, a) alternately by two sides of the choir,
or, b) by the chanters and the entire choir, or c) in
divided choirs for some phrases and all united at some
others; the division of the choir being so arranged as
to give a Tenor and Bass for Chanters, or Soprano and
Alto, or Soprano, Alto, Tenor and Bass as a Quartett,
and then the entire choir. Where the point of changing
from one side to another occurs, this should be expressly
indicated before hand. If, for example, the alternation
is between upper and lower voices, this should be main-
tained all through, until the last phrase is reached at
the words Cum Sancto Spiritu, when both sides should
unite.

"The Te Deum" according to Baini "may be sung
"in two ways: either alternately by the Chanters and
"full choir, or alternately by the Chanters and Congre-
gation, — or choir against choir." The same method
in a word, may be adopted as in the case of the Gloria.
At the words: Pleni sunt codi and Te ergo qucesumus,
the divided choirs unite and sing the former phrase
fortissimo ; the latter softly, slowly and with great ex-
pression. At the closing words: In te Domine all unite
again, and bring this solemn Hymn of Praise and thanks-
giving to an end, as if with one heart and voice. The

*) "After the ravishing, seraphic, vocal interweaving of a Pale-
strina Kyrie, the simple Gloria in excelsis Deo, escapes from the mouth
of the Celebrant with a tone of majestic grandeur and jubilation,
worthy of proclaiming the glory of the Most High." Ambkos, Ge-
schichte der Musik, II. vol. p. 68.

255

interpolation of four or five part music in every alternate
verse of the Te Deum is one of the oldest customs: in
the Church.

II. The solemn intonation of the Credo by the Cele-
brant is followed immediately by the remaining words of
this great Act of Faith, which may be sung by all to-
gether or alternately; as in the case of the Gloria but
no word should be omitted nor should the Organ inter-
pose interludes. The melody is peculiarly suitable for
a united congregational rendering by all who take part
even in the most crowded religious solemnity. If it be
sung without accompaniment, then it should be accele-
rated a little; we prefer a swinging, well-accented, un-
accompanied rendering of the Credo, to the best and
cleverest Organ-accompaniment.

III. The Preface is introduced by an antiphonal chant
between Priest and Choir. 1 ) Dr. Dom. Mettenleiter in
his Aphorisms on Gregorian Chant, 2 ) says with regard
to the Preface and Pater noster: "The Chants of the
Prcefatio and Pater noster are the most sublime that
have ever been or can be produced. A thousand times
have we both sung them and heard them sung; and if
we live to hear them a thousand times more, we will
never grow the last tired of them; on the contrary, at
each hearing, we catch something previously unheard,
we discover a new beauty, the feeling of God's presence
strikes us more forcibly, the breathings of the Holy Spirit
become more and more distinctly audible . . . and yet but
four notes are employed te produce all these effects."

The Choir should answer the Priest in just intonation
and in a firm united body of tone expressive of both text

1 ) Of M. A. Mozakt it is authentically related that speaking of
this Chant he said, "He would give all his musical reputation to be
accounted the originator of this one melody."

2 ) In Pastor bonus, a supplement to a Swiss Art journal. 10. Aug. 1861.

256

and melody. The Organ may accompany the responses,
but not the Chant of the Priest.

Equally beautiful if not still richer forms of melody
are given to that incomparable song of triumph the Ex-
sultet jam Angelica of Holy Saturday; "as joyous yet as
dignified a piece of declamatory music, if I may so speak,
as is anywhere to be found." 1 )

IV. The Litanies are especially suited for large
choirs, or congregational singing. One or more Chanters
distinctly and carefully sing the invocations, to each of
which the Choir or Congregation answer. The Responses
in the Mass or during the divine Office follow the same
rules of clear united intonation, distinct enunciation and
well modulated delivery. All efforts to deliver these rich
melodies effectively will be fruitless if the syllabic simple
Chant be not perfectly and correctly learned.

CHAPTER 49 th .

THE VARIABLE MASS CHANTS, ANTIPHONS,
RESPONSORIES &c.

I. "The Introit always expresses an idea which in
the solemn Celebration of Mass should for the moment
prevail and engage our attention, — it strikes the key-
note of the Festival, or exhibits a model after which we
should draw. Whence comes it that in earlier times that
the Latin Chant of the Introits was so well understood,
that the Sundays in Civil Almanacks were always indi-
cated with their initial word: Gaudete, Invocabit, Oculi,
Lcetare? Clearly in those times men took more interest
in the Church's prayers and were more closely in touch
with them than what they are in our days." 2 )

*) Caed. Wiseman "Four Lectures on the Ceremonies of Holy Week"
page 70.

2 ) Dr. Jos. Selost, der lat. Kirchengesang beim heil. Messopfer.
2 nd edit. pp. 245 & 247.

257

The melodies of the Introits are simple, somewhat
like those of the Antiphons; formerly an entire Psalm with
Gloria Patri was sung after the Introit, and then like
as with an Antiphon, the Introit was repeated. Now but
one verse of the Psalm with the Gloria Patri is sung.
The Ecclesiastical Decree commanding the repetition of
the Introit can be complied with by reciting the words
on one note, when the use of the Organ is allowed.

The Choral Chants for the Kyrie, Christe, Kyrie,
are much more elaborate. It lies with the Organist to
so transpose either the Introit or the Kyrie that without
a long interlude both Chants mostly in different modes
may be as closely as possible bound together. The
Dominants a flat, a or b flat can bring about this union
without much modulating; e. g. the Introit Judica on
Passion Sunday is in the 4 th Mode and closes with e, g,
f, e, the Kyrie for the same Sunday (N° 12) is in the
6 th Mode and begins with /; 4 th and 6 th Modes have a
for the Dominant, consequently no transposition is neces-
sary. Again in the Introit, Salve, Sancta Parens (II Modus)
the melody closes on d, the Kyrie de B. V. M. is I. and
II. Modes; transpose both Introit and Kyrie a minor
third higher with 3 flats, and aflat becomes the common
Dominant. The compass of the nine Kyrie and Christe
melodies (from A to d) demands in all cases alternation
between high (1 st and 3 d Christe, 7 th and 9 th Kyrie) and
low voices (2 nd and 8 th Kyrie and 2 nd Christe) so that
only the 1 st and 3 d Kyrie could be sung by the united
choir. The Introit Loquebar (V. Modus) preceding the
Kyrie in Duplicibus must be transposed a minor third
down so that a will become Dominant instead of c; and
to / sharp, e, d, e, e, d follow immediately a, g, a, c, of
the first Kyrie (I. Mod. with Dominant a). If however
the repetition is recited, the Organist can in the accom-

Magister Choralis. 1 /

258

paniment of the a, soften the somewhat too rigged me-
lodic modulation in the following manner and establish
a connection with the Kyrie.

Loquebar etc — quae di - le - xi ni-mis.

\ \ 6 \ 4 \ 3

II. For the Chants of the Gradual with Alleluja or
Tr actus which of all the Chants of the Mass contain the
most prolonged melismce, use can be made of the per-
mission to recite the more prolonged chants especially
in Churches where Deacon and Subdeacon cannot be had
and where but a short interval occurs between Epistle
and Gospel. If the first verse of the Gradual and the
Alleluia be sung then let the second verse and the f.
of the Alleluia be recited, and thus complaints cannot
be made of undue prolongation of Divine Service in
obedience to Ecclesiastical Decrees, regard being had
to the meaning which this portion of the Mass had in
the oldest liturgies and still has in our own day. 1 ) It
may be sufficient for impatient souls to refer to the ad-
monition of S 1 Bonaventure: "The faithful should stand
firm to the commandments which are proclaimed to them
and advance step by step." 2 ) The same Holy Doctor
adds: "After the Alleluia we are accustomed by a long
intonation on the vowel a to prolong the Chant, in order
to signify the endless and unspeakable joy of the Saints
in heaven."

1 ) Kössing in his "Kirchenlexikon", article Graduate, (2 nd edition,
5 th vol. p. 983) appropriately remarks: "the meaning of the Graduate
falls in with that of the Alleluia Chant, the Tract and the Sequence,
and is to he found in the necessary alternation between the action
of the clergy and of the faithful and not in the necessity of filling
in the time whilst preparation is being made for the solemn publi-
cation of the Gospel."

2 ) Expos. Missce cap. II. opp. toni VII. p. 74.

259

Of the Tract Pope Innocent III. writes: 1 ) "This should
be sung in a slow long drawn out manner (hence its
name 2 )) which also indicates the miseries of our present
pilgrimage, of which the Psalmist says: Wo is me that
my sojourning is prolonged, etc.

In uniting the Gradual with the Alleluia or Tract,
let the same directions be observed as were given in
reference with the Introit and Kyrie.

III. "The Offertorium has received this name because
it was sung whilst the Bishop or Priest was engaged in
collecting the oblations for the sacrifice from Clergy and
people. The Chant should continue whilst the offerings
were being made so that it often became necessary to
repeat it." From a musical aspect this Chant was in
earlier times very elaborate and prolonged, (pneumis
distentum says Rupert v. Deutz) in the authentic Choral
Books it draws nearer to the Antiphon Chant and is
shorter and more compact. Its omission or substitution
by a Text foreign to the Character of the Festival can-
not be justified. Even when an occasional motet in music
may be sung after the Offertory the delivery of the Offer-
tory in the Plain-Chant melody is to be preferred to its
recitation.

IV. The Communio after the Agnus Bei is at the
present day nothing more than an Antiphon which in
earlier times was sung in conjunction with a Psalm
(see page 134).

"The solemn Chant is a kind of thanksgiving which
if not always expressed in words, is nevertheless such

*) Von den Geheimnissen der hl. Messe, translated [into German] by
Fr. Hurter.

a ) The Pope here does not mean to describe the manner of ren-
dering this Chant, bnt only the construction of the melody which
in the verses of the Tract from three to fourteen in number, is of a
richer and more prolonged character.

17*

260

in intention, in the affections of the Heart from which
the Chant springs, and to the greater honor of God which
it promotes."

Also between the Agnus Dei and Communio there
should be a uniformity of tone, which can be attained
by a skilful Organ interlude permissible here without
danger of loss of time or inconvenience to the Celebrant.
In Advent and Lent when the Organ is silent, a longer
pause may be made between Agnus and Communio,
wherein the intonation of the latter may be prepared.

V. The Antiphons, which, sometimes without a Psalm
to follow, and sometimes as an introduction and close to
a Psalnx, constitute such a principal feature of the Bre-
viary (Antiphonarium), and are frequently to be met with
in the Graduate, Rituale, and Pontificate Romanum, range
themselves as a kind of preparation for the more copiously
noted Choral Chants. In their melodies they hold a kind
of via media between the syllabic Chants of the Psalms,
Prefaces, Lessons, Hymns, Glorias and Credos, and the
more elaborate alternating Chants of the Mass, etc. The
office of the Antiphon usually consists in giving the key-
note or leading idea which the Church wishes to develop
for the Feast occurring from the Psalm which follows,
and they give at once the "headings" and the chief
point of meditation which should be remembered during
the Psalm. Through this alternation of the antiphonal
Chants the Office assumes a kind of dramatic character.

A closer union of several consecutive Antiphons in
different modes requires a careful preparation on the
part of the Organist or Director.

Truly the simple speech-melody of the Antiphons
bound so naturally to the words and phrases of the Text
must be the reason why the various editions of the Choral
books for Antiphon Chants exhibit for centuries the most

261

welcome uniformity. From the earnest cultivation of
Antiphon Chants preeminently depends the growing pro-
gress and successful advancement of Gregorian Chant.
By this means a good tradition worthy of imitation can
be established.

VI. The name Responsorium is principally given now
to those Chants of extensive compass, which are pre-
scribed to be sung after the Lessons in the Office of
Matins, similar to the Gradual and Tract verses after the
Epistle, or after Lessons in the Missal Liturgy, which
anciently were also designated as Responsoria. *)

In the Roman official books (AntipJionarium in folio)
all the Responsories of Matins according to the order
of the Breviary are printed in full, for the first time for
centuries past. As basis for this work the printed Folio
Antiphonary of Trognseus in Antwerp 1611, was mostly
used; the complete Responsories given in that edition
were abbreviated by the Papal Commission and the dis-
tribution of the neumatic formulas over the text, revised.

OBSERVATION. After the Council of Trent a great
desire to abbreviate the melodies manifested itself on
the part of the S. R. C. and of the Pope. Besides other
facts which might be adduced in proof of this assertion
we have the utterances and acts of two men who occupy
a prominent place in the History of Church Music. Gio-
vanni Pierluigi da Palestrina was commissioned by Gre-
gory XIII "to amend the Gradual", and he wrote 2 ) "that
he deemed it the highest honour to be able to purge

*) "The question, why the original and ancient name was aban-
doned and the modern name Gradual substituted, would appear to iind
its answer in the desire to distinguish the Responsory in the Mass
from those following the lessons in Matins, and give it a special name
derived from the position of the precentor" [ad gradusj. Kössing in
article Graduate in the "Kirchenlexikon".

2 ) In a letter of Nov. 5 th , 1578 to Duke William in Mantua; see
K. M. Jahrbuch 1886, p. 39.

262

thoroughly the canto fermo from barbarisms and other
cacophonies." The same idea was carried out practically
by Felice Anerio, Palestrina's successor in the post of
"Pontifical composer." An indisputable example of how
he accomplished this, is given us in Codex 3390 of the
Vatican Library (Section Ottoboni) bearing the title:
"Besponsoria in Commune Sanctorum regulato cantu per
B. D. Felicem Anerium, S. D. N. Musices Compositor em,"
which was originally in the Archives of the Chapel of
Duke Angelo d'Alltemps. The first Responsory of the
Common of Apostles is abbreviated in the following
manner :

^W==w==N*=wi^w*==i r-irT zi^= L 1 ' — ^±

**■

Ec-ce e-go mit-to vos sic ■ ut o - ves in me - di-o

E&te^ELg^zz^S'ES

lu-pö - rum di - cit Do - mi-nus etc.

If this be compared with the abbreviated form con-
tained in the official Antiphonary and also with the An-
tiphonary of 1611 or with Manuscripts, it will be seen
that the Pontifical Commission selected a via media, thus
considerably facilitating the rendering of the Respon-
sories without reducing them to the simple Antiphonal
character.

Another method of singing the Responsories, and
closely resembling Psalmody, is much favoured in the
Roman Basilicas and Collegiate Churches. It originated
in S 1 John Lateran's, and consists in singing the Respon-
sories according to eight fixed formulas, like the eight
Psalm-Tones, which were composed probably about the
beginning of the present century. The above quoted
Responsory sung according to this method to the formula
corresponding to the seventh Tone, would run thus:

5=5

Ecce ego mitto vos sicut oves in medio lu-po - rum , di - cit

Do -mi-nus:* Estöte ergo prudentes sic-ut ser-pen-tes,

263

et simplices sic-nt co - lüm-bse. f. Dum lucem ha -be - tis,

^^^E ^E^^E*JEEEE^£^Ej\

credite in hi - cem , ut filii lucis si - tis. Estote. ut

supra.

After the Congress of Arezzo when the "archaeolo-
gical melismas" became known, weighty authorities ad-
vocated the addition ad libitum of these simple formulas,
better suited for modern conditions, to the authentic
Choral Books. This however was not done, principally
owing to the consideration that all the Responsories of
the Breviary should be printed in full, arranged to these
formulas, which consequently would greatly increase the
bulk of the Antiphonary.

These remarks are intended to show that the authority
to which we owe the Breviarium Bomanum, — "the ab-
breviated Office", — is inclined even at present to carry
on the principle of abbreviation, as in the prayers, Les-
sons, Ceremonies, etc., so also in the Chants.

If a little care be taken, the Responsories can be
entoned so as to be in harmony with the preceding Les-
son, and in order still further to accommodate the Choir,
the y., and repetition may be recited on the Dominant.

What has been said about the Antiphons, Respon-
sories, Hymns, etc., of the Gradual and Antiphonary,
holds good, of course also for the corresponding melodies
of the Ritual and Roman Pontifical.

264

CONCLUSION.

If Priests, Ecclesiastical Students and Lay Choristers
sing the Gregorian Chant in its manifold forms at the
different sacred functions, with attention to the meaning
and connection of the words, modulating their voices ac-
cordingly and observing the correct accentuation and
emphasis in conformity with the rules given in Chap. 45 th r
then they will sing according to the mind of the Church
and the wishes of the S. R. C. Then they will be com-
plying with the injunctions of Cardinal Bona where he
writes : (De divina Psalrnodia, Cap. XVIL, §. V, 5.) "Nos
autem generibus musicce jugiter exerceamus, in concordia
vocum et morum laudes divinas in hoc exsilio decantantes,
donee mereamur divince musicce consortes fieri, et ad con-
summatissimos cum Sanctis Angelis Hymnos elevari;" where
namely:

"... Ilia sedes ccelitum
Semper resultat Imidibus
Deumque Trinum et Unicum
Jugi canore prcedicat
Sedi canentes jungimur
Ahnce Sionis cemidi." 1 )

l ) Third strophe of the Hymn at Lauds in the Dedication of a
Church.

APPENDIX.

The following Tables are given partly to illustrate
the history of Plain- Chant notation during the centuries*
which preceded the invention of printing, and partly to
display the [graphic] materials from which the Gregorian
melodies were collected. According to the epoch and
\ nationality of the transcriber, the manner of writing the
neumes varied, but once the discovery was made of the
stave in the 11 th century and that its use rapidly became
universal, the fixing of the intervals became clear and
unquestionable. We distinguish Latin from Gothic l ) note-
forms, simple from complex neumes, as well as signs of
embellishment.

OBSEKVATION. These Tables are selected from
the work of P. Jos. Pothier 0. S. B. "Les melodies Gre-
goriennes". For a comprehensive study of these matters r
the "friends of Archeology who wish to become acquainted
with the development and successive phases of Litur-
gical Chant" (see Brief of Leo XIII. Ap. 26. 1883) are
recommended to consult and compare the Works and
Treatises of the following authors: A. W. Ambros; Cha-
minade; Coussemacker; Fei. Danjou; F. J. Fetis; Prince-
Abbot Gerbert (Scriptores, and de Cantu et mitsica sacra);
Hermesdorff; Kienle; P. Utto Kornmüller; P. Louis Lam-
billotte; Theod. Nisard (nom de plume of Theod. Normand);
Dom Pothier (Les Melodies Gregoriennes and Liber Gra-
dualis); Raillard; D r . Hugo Riemann; P. Anselm Schubiger,
but especially the Paleographie musicale which since
January 1889 is being brought out by the Benedictine
Fathers of Solesmes in Facsimile phototype (four numbers
yearly). In the general Introduction to this work no less
than seventy authors are enumerated who treat of the
neume notation.

P. Ambros Kienle, Choralschule, p. 14: "From the 11 th century
the linear notation assumed the square form in France and thence-
spread into other countries. In Germany the neumes being- thickened
in the lines and heads drifted into the so-called Hob-nail form."

266

1. Table. Usual neunies in Latin writing.

a) Punctum. b) Virga. c) Podatus. d) Clivis. e) Torculus.

f) Porrectus.

& & 9.

10. & 11.

cent.

U13.

cent.

U15.

cent.

•

J </

J J

-A

fit

■

)

■

m
■

f*M

g) Scaidicus.

h) Salicus.

i) Climacus.

k) Pes subpunctis.

1) Climacus
resupinus.

cent.

J J

A A

•

io. & li.

cent.

,' J

A f 1 -

■

12. & IB.

cent.

• kl ,M

li & 15.

cent.

•S J

% \

i\i

267

2. Table. Usual neumes in Gothic (Hob-nail) writing.

a) Punctum. b) Virga. c) Podatus. d) Clivis. e) Torcuhis. f) Porrectus.

8. & 9.
cent.

|\ & 11.
cent.

12. & IB.
cent.

14. & 15.
cent.

^ /

J J

/> i

fi x

jl v

g) Scandicus. h) Salicus.

i) Climacus. k) Pes subpunctis. 1) Climacus

resupimis.

. &9.
cent.

10. & 11.
cent.

12. & 13.

cent.

14. & 15.
cent.

J, J

/./

fcf

268

3. Table. Latin

a) Strophicus. b) Epiphonus.

writing of Tone-embellishment.

c) Cephalicv». d) .4mcms. e) Quilisma. f) Pressus.

8. £9.
cent.

J >) Ml

/? />

«•

f A

10. & 11.
cent.

19 nt

/*/>

«/

ff prl

12. & IB.
cent.

1 n w

% fy

14. & 15.
cent.

■ aa BBS

i i

p p

Tl^

4. Table. Gothic (Hob-nail form) of Tone-embellishment.

a) Strophicus. b) Epiphonus. c) Cephalicus. d) ,4racws. e) Quilisma. f) Pressus.

8. &9.
cent.

> > » » »»

10. & 11.

cent.

P W

f r»

v A

12. & 13.
cent.

? *f w

ftf

A frj

14. & 15.

cent.

t tt m

1ft

269

11. cent.

12. & IB.

14. & 15.
cent.

5. Table.

Chronological Forms of the clefs, I? and t| signs,
a) In Latin writing.

b) In Gothic writing.

11. cent.

12. & IB.
cent.

14. & 15.
cent.

ff?

-b

l ) The Forms of the modern C, F, and Gr clefs are known; very
often the C, was made from the Gothic F clef of the 15 th century by

a double perpendicular line drawn right and left thus: ttsfe In the

modern F clef the line between the two dots fixes the position of
the F.

Index alphabeticus

cantionum et rerum liturgicarum Sacerdotibus et Clericis convenientium.

Absolutio in officio Matut. p. 165
Sterne Eex altissime (Hymnus) 194
Alleluja in Missa Sabbati sancti 192
Alma Kedemptoris Mater (An-
tiphona) 149
Asperges me 176
Ave Regina (Antiphona) 159
Ave sanctum Chrisma 189
Ave sanctum Oleum 189
Benedicamus in Missa 137 seq.
Benedicamus in officio divino 157 seq.
BenedictioHebdomadarii inMa-

tutino 166

Benedictio Pontificalis 196

Blessing of Candles, Ashes, Palms,
Paschal Candle and Baptismal
Font 182 seq.

Books, liturgical, 89

Canticorum toni 148

Capitulum in Officio 153

Confiteor 134

Credo in unum Deum 117

Deus in adjutorium 151

Doinine labia mea 162

Dominus vobiscum 106

Ecce lignum crucis 191

Ego sum (Antiph. ad Bened.) 198
Epistola 112

Evangelium 115

Exercises 58 seq.

Exposition of the Choral reading. 246

— of the metrical Hymns 249

— of the unmetrical Hymns,
Prefaces, Litanies, etc. 254

Exsultabunt (Ant. in exsequiis) 198
Exsultet jam Angelica turba 185
Flectamus genua 111

General Instructions to the

Clergy and Clerical students 218
Gloria, Intonationes 105

Gloria, laus et honor 184

Humiliate capita vestra 111

Influence of the Text and Pro-
nunciation on the Note-forms
and Tone 237

Ite missa est, Toni 135 seq.

Jube domne benedicere 166

Lamentationis Tonus p. 168

Lectionis Tonus 167

Libera me Doinine (Respons.) 139
Litanise de B. M. V. 180

Litanise de omnibus Sanctis 177 seq.
Litaniae de Ss. Nomine Jesu 180
Lumen Christi 184

Martyrologium 174

Orationum Tonus ferialis 109

Orationum Tonus festivus 107

„ „ simplex ferialis 109

„ „ in Parasceve 111

Redemptor 189

Oremus before the Offertorium 118
Pange lingua (Hymnus) 194

Pater noster, Tonus ferialis 132
Pater noster, Tonus festivus 132
Pax Domini 133

Pr^fationum Cantus Ferialis 128
Pr^fationum Cantus Festivus 120
Procedamus in pace 183

ProphetiEe Tonus 181

Psalmorum Toni feriales 148

Psalmorum Toni festivi 145

Regina coeli (Antiphona) 160

Requiescant in pace 138

Responsorium breve (in horis

canonicis) 173

Sacris solemniis (Hymnus) 194

Salutis humanse Sator (Hymnus) 194
Salve Regina (Antiphona) 160

Si iniquitates (Ant. in exsequiis) 197
Sit nomen Dni (Ant. in exsequ.) 196
Te Deum laudamus 170, 197

Tonus peregrinus 148

Various liturgical Functions

with Chant 193

Yeni Creator Spiritus (Hymnus) 195

Veni sancte Spiritus (Aritiph.) 195

Verbum supernum (Hymnus) 194

Vers. Toni in Officio divino 155

„ „ in Commemoratione 156

„ „ in hebdomada sancta 155

„ „ in Officio Defunct. 155

Vespere autem Sabbati 192

Vidi aquam 176

TABLE OF CONTENTS.

Translator's Preface to second English edition
Author's Preface to ninth German edition .
Chapter 1. Definition of Gregorian Chant

„ 2. A short history of Plain Chant .

„ 3. Why we should esteem Plain Chant
4. Division of the Book .

page III

Chapter o.

10.

11.

12.

Chaptei

. 13.

14.

15.

16.

17.

18.

19.

20.

21.

22.

Chapteb

23.

24.

25.

26.

27.

28.

29.

Chapter 30.

31.

32.

33.

34.

35.

PART I. Preliminary Notions.

Names of the notes. ■ — Construction of the scale
Progression of the sounds of the scale. — Intervals
Notation. — Clefs ....
Rhythm. — Pauses ....

The voice

Vocalization. — Articulation
Pronunciation (of Latin). — Accentuation
Exercises

20
28
30
37
41
48
53
58

PART II. Plain Chant.

Sectio theoretica.

The Church Modes or Tones ..... 66

Names and Classification of the Church Modes. . 70

Signs of the Tones 73

Nature and characteristics of the 1 st , 2 nd , 3 d & 4 th Tones. 75

Nature and characteristics of the 5 th , 6 th , 7 th & 8 th Tones. 78

Transposition 81

On the use of the Diesis or Jf in Gregorian Chant . 85
Sectio practica.

The liturgical books 89

The ecclesiastical year and calendar 9ft

Arrangement of the Missal (Gradual) and Breviary . 99

The Holy Sacrifice of the Mass.

Introit. — Kyrie. — Gloria 102

The Chants for the Prayers 106

Prom the Epistle to the Preface . . . .112

The Preface. — Solemn Intonations .... 119

The Preface. — Ferial Intonations .... 128

The Pater noster. — Communion .... 131

Ite Missa est. — Benedicamus Domino . . . 135

The Divine Office or Canonical Hours.

Psalmody

The Psalms in Tono duplici et semiduplici
Ferial Tones for the Psalms; — the Canticles

Vespers and Compline

Matins and Lauds

Prim. Terce. Sext. None

page 139
. 145
. 148
. 150
. 162
. 171

272

Chapter 36.
„ 37.

„ 38.

„ 39.

Special Observances.

The Asperges and the Litany Chants . . . 176
Blessing of Candles , Ashes , Palms , Paschal Candle

and Baptismal Font 182

Holy Thursday, Good Friday, and Easter Saturday

ad Missam 187

Various liturgical functions with chant . . .193

Appendix.

Chapter 40. Upon Organ accompaniment to Gregorian Chant

I. General rules

II. Special rules

PART III. Further Notions of Plain Chant.

Chapter 41.

„ 42.

„ 43.

„ 44.

„ 45.

„ 46.

„ 47.

„ 48.

„ 49.

I. General Instructions.
To the Clergy and Clerical students ....

To Choir -Masters

For Organists

For Choristers

II. Special Directions for Chanting.
Influence of the Text and Pronunciation on the Note-
forms and Tone

Psalms. Choral reading

The metrical Hymns

The unmetrical Hymns, Prefaces, Litanies, etc.

The variable Mass Chants, Antiphons, Responsories,etc.

Appendix with Tables of Neumes

199
201
203

219
223
229
234

237
246
249
254
256
265

ag(

i 4,

27,

34,

42,

47,

70,

77,

92,

100,

119,

•v>

171,

19/,

221,

227,

233,

241,

244,

248,

249,

„

251,

-n

255,

ERRATA CORRIGE.

last line, for worschip, read worship.

line, 18, ' „ distribued, „ distributed.

„9, „ horse-shoe, „ hob-nail.

5 th line from foot of page, „ this „ these,

line, 15, „in use, „ useful.

„14, „ supperadded, „ superadded.

„ 6, J fall, „ full.

Foot notes 1 and 2 should be read in inverse order.

line, 11, for Anthews, read Anthems.

„4, „Its. „ It-

„1, „ Propre, „ Proper.

„• 13, „ Prim, „ Prime.

„23, „ appartains, „ appertains.

„10 „ Whoseever, „ Whosoever.

„ 1,' after by, insert indicating.

„18, for what, read that.

„16, after a vowel insert short.

„6, for postling, read jostling.

„21, '„ theoreticians „ theorists.

„ 13, „no, _ „ not. m

„19, „ appartains, „ appertains.

„ 3, after Jambic insert either, and after four omit or.

„ 24, for last read least, and in line 29, for te, read to.

783,51

3 5002 00166 3363

Haberl, Franz Xaver

Magister choralis. A theoretical and pra

MT 860 .Hli D6 1892

Haberl, Franz Xaver, 1840
1910.

Magister choralis

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